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    Architectural.record.magazine.february.2006 Architectural.record.magazine.february.2006 Document Transcript

    • LEVITATION ACT Zaha Hadid’s PHAENO SCIENCE CENTER floats above Wolfsburg, GermanyALSO IN T HIS ISSUE LIGHTING SECTION
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    • EDITOR IN CHIEF Robert Ivy, FAIA, rivy@mcgraw-hill.com MANAGING EDITOR Beth Broome, elisabeth_broome@mcgraw-hill.com DESIGN DIRECTOR Anna Egger-Schlesinger, schlesin@mcgraw-hill.com DEPUTY EDITORS Clifford A. Pearson, pearsonc@mcgraw-hill.com Suzanne Stephens, suzanne_stephens@mcgraw-hill.com Charles Linn, FAIA, Profession and Industry, linnc@mcgraw-hill.com SENIOR EDITORS Sarah Amelar, sarah_ amelar@mcgraw-hill.com Sara Hart, sara_ hart@mcgraw-hill.com Deborah Snoonian, P.E., deborah_snoonian@mcgraw-hill.com William Weathersby, Jr., bill_weathersby@mcgraw-hill.com Jane F. Kolleeny, jane_kolleeny@mcgraw-hill.com PRODUCTS EDITOR Rita Catinella Orrell, rita_catinella@mcgraw-hill.com NEWS EDITOR Sam Lubell, sam_lubell@mcgraw-hill.com What’s so smart about PRODUCTION MANAGER Juan Ramos, juan_ramos@mcgraw-hill.com DEPUTY ART DIRECTOR Kristofer E. Rabasca, kris_rabasca@mcgraw-hill.com the Annapolis LED solar ASSOCIATE ART DIRECTOR Clara Huang, clara_huang@mcgraw-hill.com WEB DESIGN Susannah Shepherd, susannah_shepherd@mcgraw-hill.com powered bollard? WEB PRODUCTION Laurie Meisel, laurie_meisel@mcgraw-hill.com EDITORIAL SUPPORT Linda Ransey, linda_ransey@mcgraw-hill.com Monique Francis, monique_francis@mcgraw-hill.com It’s off the grid. No hard COPY EDITOR Leslie Yudell ILLUSTRATOR I-ni Chen wiring cuts installation EDITORIAL ASSISTANT Sarah Cox EDITOR AT LARGE James S. Russell, AIA, jamesrussell_editor@earthlink.net and maintain costs — CONTRIBUTING EDITORS Raul Barreneche, Robert Campbell, FAIA, Andrea Oppenheimer and increases security. Dean, David Dillon, Lisa Findley, Blair Kamin, Nancy Levinson, Thomas Mellins, Robert Murray, Sheri Olson, FAIA, Nancy B. Solomon, AIA, Michael Sorkin, Michael Speaks, Ingrid Spencer In a blackout, it just SPECIAL INTERNATIONAL CORRESPONDENT Naomi R. Pollock, AIA INTERNATIONAL CORRESPONDENTS David Cohn, Claire Downey, Tracy Metz keeps beaming. Batteries GROUP PUBLISHER James H. McGraw IV, jay_mcgraw@mcgraw-hill.com VP, ASSOCIATE PUBLISHER Laura Viscusi, laura_viscusi@mcgraw-hill.com last up to 5 years and VP, GROUP EDITORIAL DIRECTOR Robert Ivy, FAIA, rivy@mcgraw-hill.com GROUP DESIGN DIRECTOR Anna Egger-Schlesinger, schlesin@mcgraw-hill.com LED bulbs up to 15. And DIRECTOR, CIRCULATION Maurice Persiani, maurice_persiani@mcgraw-hill.com Brian McGann, brian_mcgann@mcgraw-hill.com ASSOCIATE PROMOTION MANAGER Laura M. Savino, laura_savino@mcgraw-hill.com it uses no fossil fuels, DIRECTOR, MULTIMEDIA DESIGN & PRODUCTION Susan Valentini, susan_valentini@mcgraw-hill.com MANAGER, ADVERTISING PRODUCTION Stephen R. Weiss, stephen_weiss@mcgraw-hill.com emits no gasses and DIRECTOR, FINANCE Ike Chong, ike_chong@mcgraw-hill.com DIRECTOR, SPECIAL PROJECTS Charles Pinyan, cpinyan@mcgraw-hill.com REPRINTS Reprint Management Services, architecturalrecord@reprintbuyer.com contains no glass. EDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: rivy@mcgraw-hill.com. Two Penn Plaza, New York, N.Y. 10121-2298. WEB SITE: www.archrecord.com. SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 515/237-3861 (outside the U.S.). Subscriber fax: 712/755-7423. E-mail: arhcustserv@cdsfulfillment.com. AIA members must contact the AIA for address changes on their subscriptions. 800/242-3837. E-mail: memberservices@aia.org. INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Practice, Charles Linn; Books, Deborah Snoonian; Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella Orrell; Lighting and Interiors, William Weathersby, Jr.; Residential, Jane F. Kolleeny; Web Editorial, Ingrid Spencer. ARCHITECTURAL RECORD: (ISSN 0003-858X) February 2006. Vol. 194, No. 02. Published monthly by The McGraw-Hill Companies, 1221 Avenue of the Americas, New York, N.Y. 10020. Periodicals postage paid at New York, N.Y. and additional mailing offices. Canada Post International Publications Mail Product Sales Agreement No. 40012501. Return undeliverable Canadian addresses to: DPGM Ltd., 2-7496 Bath Road, Mississauga, ON L4T 1L2. Email: P64ords@mcgraw-hill.com. Registered for GST as The McGraw-Hill Companies. GST No. R123075673. Postmaster: Please send address changes to ARCHITECTURAL RECORD, Fulfillment Manager, P.O. Box 5732, Harlan, IA 51593. SUBSCRIPTION: Rates are as follows: U.S. and Possessions $70.30; Canada and Mexico $79 (payment in U.S. currency, GST included); outside North America $199 (air freight delivery). Single copy price $9.95; for foreign $11. Subscriber Services: 877/876-8093 (U.S. only); 609/426-7046 (outside the U.S.); fax: 609/426- 7087. SUBMISSIONS: Every effort will be made to return material submitted for possible publication (if accompanied by stamped, self-addressed envelope), but the edi- tors and the corporation will not be responsible for loss or damage. SUBSCRIPTION LIST USAGE: Advertisers may use our list to mail information to readers. To be excluded from such mailings, send a request to ARCHITECTURAL RECORD, Mailing List Manager, P.O. Box 555, Hightstown, N.J. 08520. OFFICERS OF THE MCGRAW- HILL COMPANIES: Chairman, President and Chief Executive Officer: Harold McGraw III. Executive Vice President and Chief Financial Officer: Robert J. Bahash. Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Principal Operating Executives: Kathleen A Corbet, President, Standard & Poors; Henry Hirschberg, President, McGraw-Hill Education; Glenn S. Goldberg, President, McGraw-Hill Information and Media Services. MCGRAW- HILL CONSTRUCTION: Norbert W. Young, Jr., FAIA, President. Vice President and CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office. Copyright © 2006 by The McGraw-Hill Companies. All rights reserved. Where necessary, permission is granted by the copyright owner for libraries and others regis- tered with the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, Mass. 01923. To photocopy any article herein for personal or internal reference use only for the base fee of $1.80 per copy of the article plus ten cents per page, send payment to CCC, ISSN 0003-858X. Copying for other than personal use or internal reference is prohib- ited without prior written permission. Write or fax requests (no telephone requests) to Copyright Permission Desk, ARCHITECTURAL RECORD, Two Penn Plaza, New York, N.Y. 10121-2298; fax 212/904-4256. For reprints call 800/360-5549 X 129 or e-mail architecturalrecord@reprintbuyer.com. Information has been obtained by The McGraw- Hill Companies from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions therein or for the results to be obtained from the use of such information of for any damages resulting there from. THE AMERICAN INSTITUTE OF ARCHITECTS 2006 BOARD OF DIRECTORS • OFFICERS: Kate Schwennsen, FAIA, President; RK Stewart, FAIA, First Vice President; Ronald J. Battaglia, FAIA, Vice President; Michael Broshar, AIA, Vice President; Jerry K. Roller, AIA, Vice President; Norman Strong, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; Tommy Neal Cowan, FAIA, Treasurer; Jeremy Edmunds, Associate AIA, Associate Representative to the AIA Executive Committee; Elizabeth Mitchell, CACE Representative to the AIA Executive Committee; Christine W. McEntee, Executive Vice President/CEO. • REGIONAL DIRECTORS: Peter J. Arsenault, LEED AP, AIA; Michel C. Ashe, AIA; William D. Beyer, FAIA; Jay Brand, PhD; David J. Brotman, FAIA; Stephan Castellanos, FAIA; Anthony J. Costello, FAIA; David Crawford; James H. Eley, FAIA; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Maureen A. Guttman, AIA; Walter J. Hainsfurther, AIA; John J. Hoffmann, FAIA; Richard Jackson, MD, MPH; Leevi Kiil, FAIA; w w w. l a n d s c a p e f o r m s . c o m Michael Lischer, AIA; Clark Llewellyn, AIA; Stephen K. Loos, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; John M. Maudlin-Jeronimo, FAIA; Linda McCracken-Hunt, AIA; George H. Miller, FAIA; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Thompson Nelson, FAIA; Celeste A. Novak, LEED AP, AIA,; Gordon N. Park, CDS, AIA; Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jeffrey Rosenblum, AIA; Ken Ross, FAIA; Greg Staskiewicz, Associate AIA; James M. Suehiro, AIA; Leslie J. Thomas, AIA; Bryce A. Weigand, FAIA; 800.430.6208 Enrique A. Woodroffe, FAIA; Eric Zaddock. • AIA MANAGEMENT COUNCIL: Christine W. McEntee, Executive Vice President/CEO; James C. Dinegar, CAE, Chief Operating Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Laura L. Viehmyer, SPHR, CEBS, CAE, Chief Human Resources Officer; Helene Combs Dreiling, Hon. SDA, FAIA, Team Vice President, AIA Community; Ronald A. Faucheux, Ph.D., Esq., Team Vice President, AIA Government Advocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA Public Advocacy; David Downey, CAE, Assoc. AIA, Managing Director, AIA Communities by Design; James Gatsch, FAIA, General Manager, AIA Contract Documents; Suzanne Harness, Esq, AIA., Managing Director and Counsel, AIA Contract Documents; Maan Hashem, Managing Director, AIA Software Products and Services; Richard L. Hayes, Ph.D., RAIC, CAE, AIA, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component Relations; Christine M. Klein, Managing Director, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. O’Neal, Managing Director, AIA Information Technology; C.D. Pangallo, EdD, Managing Director, AIA Continuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Andrea S. Rutledge, SDA, Managing Director, AIA Alliances; Phil Simon, Managing Director, AIA Marketing and Promotion; Terri Stewart, Managing Director, AIA Professional Practice. CIRCLE 3 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ PRINTED IN USA
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    • 02.2006 On the Cover: phaeno Science Center, by Zaha Hadid Architects. Photograph by Klemens Ortmeyer Right: Rendering of DOSarchitects’ forthcoming Infiniti Tower in Dubai. News 110 Curran House, California by John King* David Baker + Partners, Architects 25 2006 AIA Honor Awards 114 Judenburg West Housing, Austria by Liane Lefaivre* 26 Hurricane rebuilding report Mack Architects Departments 118 Rag Flats, Pennsylvania by Jane F. Kolleeny* Onion Flats 17 Editorial: A League of Our Own 122 K Lofts, California by Allison Milionis* 19 Letters* Jonathan Segal Architect 43 Archrecord2 by Ingrid Spencer* For additional Multifamily Housing projects, go to Building Types 47 Critique: New plans for the Gulf by Michael Sorkin Study at www.archrecord.com. 55 Snapshot: Leinster House by Beth Broome189 Dates & Events* Architectural Technology212 AR Past and Present by Suzanne Stephens* 129 New Technologies Create New Challenges by Sara Hart* Features Using building process to manage a plethora of options. 60 Dubai Rises by Robert Ivy, FAIA 139 Tech Briefs* A former desert outpost is now a booming construction market. Lighting Projects 147 Introduction 70 phaeno Science Center, Germany by Clifford A. Pearson* 148 Lost House by William Weathersby, Jr. Zaha Hadid Architects Adjaye Associates An icon emerges, poured out in concrete and glass. 154 Louis Vuitton by Robert Such 82 GM Renaissance Center, Michigan by Suzanne Stephens* George Sexton Associates Skidmore, Owings & Merrill, Chicago 160 Lighting Profile: Iole Alessandrini by Robert Such How a radical renovation has raised hopes for an aging complex. 165 Product Design: Gehry Cloud Lamps by William Weathersby, Jr. 92 Bridges Center, Tennessee by James Roper* buildingstudio 167 Lighting Products A modern community space helps mend divides in Memphis. 98 Rehabilitation of Santa Caterina Market, Spain by David Cohn* Products Miralles/Tagliabue – EMBT 173 Flooring: Wood, Resilient & Concrete Bold and bright, a reconstruction project breathes life into a slum. 177 Product Briefs 185 Product Literature Building Types Study 854109 Introduction: Multifamily Housing by Jane F. Kolleeny 192 Reader Service* 198 AIA/CES Self-Report Form* * You can find these stories at www.archrecord.com, including expanded coverage of Projects, Building Types Studies, and AR is the proud recipient of a Web-only special features. National Magazine Award for General Excellence 02.06 Architectural Record 13
    • February 2006Visit us atarchrecord.construction.com Project Portfolio Zaha Hadid creates fluid architecture for the Phaeno Science Center in Wolfsburg, Germany; EMBT does more than transform a dour Neoclassical fresh-food market into a flying carpet of brilliant colors and agitated forms in Barcelona; SOM gives an iconic Detroit office, hotel, and retail center a radical renovation; and buildingstudio designs a modern community space, Bridges Center, that helps mend social divides in Memphis. Sponsored byPhaeno Science Center by Zaha HadidPhoto© Klemens Ortmeyer Building Types Study Instead of perpetuating sprawl, these 10 mid-rise, multifamily housing projects offer attractive alternatives to the unchecked development of single-family communities. All of these projects embody a socially responsible approach to design, and a modern sensibility, often working within a modest budget. Sponsored by Glass • Coatings • PaintPhoto© Edward M. Baum, FAIA From the Field: Lighting Special Section Editors Journal This month we take you to London, To the Gulf, Parts I, II, and III, to Paris, to Seattle—three cultural now updated with images. hubs playing host to the work of the Robert Ivy’s first-person report most innovative lighting designers on his journey to the Persian in the world. Gulf for a gathering of archi- tecture critics sponsored by the Aga Khan Award for Architecture finds him involved Courtesy in discussions with Middle- Thom Faulders Green Source Eastern architects and engi- Archrecord2 Green Source is a constantly neers as well as architecture Bay Area architect Thom Faulders is updated compendium of news, critics from all over the globe. energized by contrasts and surfaces, feature articles and best while the U.S. Department of Energy’s practices from McGraw-Hill Solar Decathlon winners look to the Construction publications. sun for power and inspiration. Sponsored byPhoto© Robert Ivy, FAIA connecting people_projects_products Find us online at www.construction.com
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    • A League of Our Own Editorial By Robert Ivy, FAIA N o branch of art covers a wider field than architecture; no branch architectural record, among other organizations, has main- ministers more to the comfort, luxury, and convenience of the people; tained a strong relationship with the league, providing members and leaders yet none receives less attention and encouragement from public of the it, from the early days of two-term president Russell Sturgis (record’s sources in America.” While those salient points might have been written esteemed 19th-century critic) until today. Current deputy editor Suzanne yesterday, they were penned by a group of young architects on January 18, Stephens and contributing editor Michael Sorkin continue the tradition, 1881, who set out to redress a list of grievances. The group, which included serving as longtime board members. Cass Gilbert, was called the Architectural League. Initially rooted in New It might be tempting for readers outside of Gotham to wave off the York City, it has grown and prospered, sharing the story about architecture league as parochial (New Yorkers do tend to talk to each other), if its activ- with the larger culture. We celebrate its 125th anniversary this year. ities and programs didn’t reach beyond the five boroughs. On the contrary, While associations such as the AIA primarily and justly concern architects in San Francisco often know just whom the league has chosen for themselves with professional matters, the league has always held the art of its current season of “Emerging Voices,” a vital system of recognizing signif- architecture at its core: Earliest meetings consisted of sketching sessions that icant new talent in North America, or its Young Architect program, for would ultimately result in exhibitions of members’ work. Along the way, the example, which highlights the work of architects who have finished school organization expanded its brief to include lectures, symposia, competitions, within the past 10 years. and social events, never abandoning the understanding of its central mission. Current president Wendy Evans Joseph notes the league’s commit- Hugh Ferriss, architect and delineator extraordinaire, captured an essential ment to “the larger community,” which has attracted international interest, organizational goal in 1944: “I should think this League would be proud to as well as the fact that the league is “opening itself to the globalization of assist in the reintegration of two of Man’s greatest impulses: the impulse to architecture.” Though she credits the league for helping to heighten public make things work and the impulse to make them beautiful.” awareness, “that doesn’t necessarily translate into public funding.” There is Rosalie Genevro, the organization’s executive director, echoes Ferriss’s homework left to be done. statement when she explains that the league “talks about New York, not as an We recognize the work of organizations that are educating and advocacy group, but in thinking about how to make New York more beautiful.” involving the public in architecture, such as the National Building Museum, Along the way, the league has examined new forms of housing, discussed the the American Architectural Foundation, and the Chicago Architectural role of skyscrapers, considered what makes a productive park project—all of Foundation. January 18, however, signals a unique moment, when 125 yearsP H OTO G R A P H Y : © A N D R É S O U R O U J O N which “resonate with the early years,” she says. The discussions often prove as ago the art of architecture took a bold step forward. So to the young architects crucial as the work, leavening all our thinking for subsequent projects. who kicked it off then, to their progeny who continue the tradition, and to all Furthermore, the league has always served as a meeting ground who love architecture, we salute the Architectural League. for people outside the formal discipline of architecture, including planners, graphic artists, writers, and patrons of the arts. Here has been a place where the educated public could encounter this seemingly esoteric subject; where it could be demystified for them in the process; and where they could be introduced to real architects in high-minded symposia or rambunctious gatherings, such as the league’s fabled Beaux-Arts Ball. 02.06 Architectural Record 17
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    • LettersTowering out of context ing the images of the Akron “building materials.” Having been antichildren or ignores the real DEPARTMENTSI was struck by the very nature of Museum of Art’s project. I was educated as an architect in the needs of a family as the architec-the Agbar Tower, featured in your delighted to see the two-page U.K., I remain speechless about tural profession does. We areJanuary issue [page 88], and headline that encapsulated why the lack of innovation in building called on to design schools, play-couldn’t agree more with the museum design is now so impor- technology and building design in grounds, and other child-intensiveassessment that the “inky surface tant—because it is one of the U.S. Perhaps it’s because such environments. However, when itappears to ripple under a liquid architecture’s only venues for artis- a small fraction of our built envi- comes to housing, children andfilm, sparkling through a jigsaw- tic growth. I could not agree more ronment has seen the hand of an traditional family life are better notpuzzle of color.” I am also intrigued (at least for us in the U.S.). I am architect; perhaps it’s because seen or heard or dealt with.by the concrete-bearing-wall tech- glad Russell takes the museum most builders think “stick framing” Pedro Dieznology, a wonderful approach with field to task for being too safe. when it comes to small-scale and Miamian old-school solution to modern Though one admires Renzo Piano’s domestic buildings; maybe it’smaterials and forms. sensitive galleries and excellent because we suffer from a “not CORRECTIONS I do, however, take exception grasp of the budgetary, security, invented here” approach to new A photograph of Luce et Studioto the treatment of the city that is and climate control issues for products from around the world. Architects’ Nissan Design Americahome to this “tower.” The article museums, the buildings are simply Ever so slowly we are seeing in the December Vanguard issuewas desperately lacking in taking uninspiring. If a museum is merely the emergence of products that for [page 80] was miscredited. Thethe architect, the planners, and the an articulated warehouse, what many years have been available photographer was Peter Bernheim.developer to task for allowing and, does that say about how we overseas. While I’m not privy to In the same issue [page 96], itin fact, encouraging this apparent regard art? the strategy for your new green was stated that Evan Douglis hasslap in the face to the people of When the Art Gallery of magazine you mentioned, I hope it been the undergraduate chair ofthe city. To state that “Barcelona Ontario spoke with artists in the shows architects and builders how Pratt Institute’s School ofplanners hope to spur growth with- community, it turned out they technologies from abroad can Architecture since 1993. In fact, heout sacrificing the historic core” is wanted wood floors in Frank transform the costs and the sus- has held this position since 2003.to imply that the historic core is Gehry’s new contemporary art tainability of so many buildings in The November issue’s Productsimply a “place,” and that once galleries. He, of course, wanted this country. Getting those prod- Resource section included anoutside of that core, one should concrete. As nice as concrete can ucts into the U.S. is never easy, incorrect e-mail address for Dunn-not be restricted to appropriate be, I think the artists wanted their but perhaps your magazine could Edwards. The correct address isdevelopment, but rather should work to be shown in a space that prompt some enterprising organi- www.dunnedwards.com. A captionflaunt one’s separation. was more special than a SAM’s zations to begin thinking outside in the December feature “Young ARCHITECTURAL RECORD needs Club warehouse. of their construction technology Turks in Big Tents” [page 70] incor-to look beyond the pretty pictures I hope our new building will hit boxes. With the right backing and rectly referred to the Persian Gulfand the glistening jewels and the both goals: exciting symbolic forms international partnerships, perhaps as the Arabian Gulf. A January“starchitects” to the more challeng- and also functional spaces and we could all benefit from a new news item [page 36] stated thating question: Was it the right galleries. You and others will be wave of effective, highly sustain- the new Getty Villa in Los Angelesbuilding to put here? Do not stop the judge. able and proven products and would be an educational centershowing the very best, the most Mitchell Kahan assemblies for the U.S. market. dedicated to the study of the artsinteresting, the most creative proj- Director Phil Allsopp and cultures of ancient Rome,ects out there—we both want and Akron Art Museum Huntington Woods, Mich. Greece, and “Eritrea.” The latterneed to see them. But we also Akron, Ohio should have read Etruria. Robertneed to have more critical assess- Seen, not heard Campbell’s January Critique [pagements of the buildings so that we It’s not easy being green Reading most articles on urban 57] stated that the position ofcan see both the wonder and the I read your December editorial sprawl [Residential section, president of the RIBA is held bythings that do not work so well. [“Green and Proud of It,” page 19] October 2005, page 209], it is not George Ferguson. The current presi-David C. Anderson, AIA with great interest. As you so elo- hard to imagine the writers being dent of the RIBA is Jack Pringle.Golden, Colo. quently mentioned, practices like single, or married with no children, Foster and Partners have been and no plans for them, either. MostMuseum musings designing “green” for a few proponents of the “vertical notThank you for James Russell’s decades, creating buildings from horizontal” growth do not seem toNovember feature, “Architectural a wide variety of materials and have a grasp on the reality of fami-Culture Versus Museum Culture” subassemblies that would not be lies in the traditional sense. I have Please send your letters to[page 82], and thank you for includ- regarded by most in the U.S. as never seen a profession that is so rivy@mcgraw-hill.com. 02.06 Architectural Record 19
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    • Record News Highlights p.26 Hurricane rebuilding report p.30 Architect James Freed dies p.33 AIA sets sustainability agenda p.34 Special preservation report 2006 AIA Honor Awards On January 13, the AIA announced Museo Picasso Malaga, Malaga, Karla, Miami, by Rene Gonzalez the 2006 recipients of the AIA Spain, by Gluckman Mayner Architect Honor Awards, the profession’s Architects, with associate Mother London, London, by Clive highest recognition of works in architect Camara/Martin Delgado Wilkinson Architects architecture, interior architecture, Arquitectos Nissan Design America, and urban design. Selected from TRUMPF Customer and Farmington Hills, Mich., by design more than 680 submissions, 30 Administration Building, architect Luce et Studio Architects, recipients will be honored in June Ditzingen, Germany, by Barkow with executive architect Albert Kahn Leibinger Architects Associates Visiting Artists House, The Royal Bank of Scotland Geyserville, Calif., by Jim PLC, Houston, by DMJM Rottet Jennings Architecture Schepens Eye Research Museo Picasso Malaga, by Gluckman Washington Institute Laboratory Renovation, Mayner Architects. Convention Center, Boston, by Payette Washington, D.C., by Skillman Library, Lafayette Chippewa/Cree Reservation TVS D&P Mariani, with College, Easton, Pa., by Ann Beha Plan, Box Elder, Mont., by associate architects Architects Ferdinand S. Johns, AIA, with Allison Thompson Ventulett Temporary Theater, Portland, Orr and the Community Design Stainback, Devrouax & Ore., by BOORA Architects Center, Montana State University English Residence, by Chu + Gooding Architects. Purnell Architects Woolly Mammoth Theatre (MSU) School of Architecture Planners, and Mariani Company, Washington, D.C., by Lloyd Crossing Sustainable at the AIA National Convention and Architects Engineers McInturff Architects Urban Design Plan, Design Exposition in Los Angeles. Washington State Legislative Portland, Ore., by Mithun Architects + Sam Lubell Building Rehabilitation, Olympia, Honor Awards for Regional Designers + Planners Wash., by SRG Partnership, with and Urban Design Millennium Park, Chicago, by Honor Awards for associate architect Einhorn Yaffee Skidmore, Owings & MerrillP H OTO G R A P H Y : © B E N N Y C H A N , FOTO W O R K S ( L E F T ) ; N I C L E H O U X ( B OT TO M ) ; Architecture Prescott The Arc: A Formal Structure for North Point, municipalities William J. Clinton Presidential a Palestinian State, West Bank of Cambridge, Boston, and Ballard Library and Center, Little Rock, Ark., by and Gaza, Palestine, by Suisman Somerville, Mass., by CBT/Childs Neighborhood Service Center, Polshek Partnership Architects, Urban Design Bertman Tseckares, with associate Seattle, by Bohlin Cywinski with associate architects Polk architect Greenberg Jackson Stanley Rowland Curzon Porter Consultants Bigelow Chapel, New Brighton, Architects, Witsell Evans Rasco Swiss Government Piazza, Minn., by Hammel, Green and Architects and Planners, and Bern, Switzerland, by Abrahamson Woods Caradine Architects Lee & Mundwiler Architects,G L U C K M A N M AY N E R A R C H I T E CT S ( TO P R I G H T ) Frieder Burda Collection with associate architect Museum, Baden-Baden, Germany, Honor Awards for Interior Stauffenegger & Stutz by Richard Meier & Partners Architecture Martin Luther King Plaza Architects, with associate architect Revitalization, Peter W. Kruse-Freier Architekt Bizarre, Omaha, Nebr., by Randy Philadelphia, by Torti Gallas Children’s Museum of Pittsburgh, Brown Architects and Partners by Koning Eizenberg Architecture, English Residence, Beverly Hills, University Square, with Perkins Eastman Architects Calif., by Chu + Gooding Architects University of British Joseph A. Steger Student Life and interior designer Kay Kollar Columbia, Vancouver, by Center, University of Cincinnati, Design Moore Ruble Yudell Architects by Moore Ruble Yudell Architects & Google Headquarters, Mountain & Planners, with associate Planners, with associate architect View, Calif., by Clive Wilkinson Ballard Library and Neighborhood Service architect Hughes Condon glaserworks Architects Center, by Bohlin Cywinski Jackson. Marler: Architects 02.06 Architectural Record 25
    • Record News redevelopment will be feasible. The committee’s plan encour- homes were marked for demolition, says Tami Frazier, a spokesperson ages Congress to pass the Baker Bill, with the mayor’s office. Citizens filed which would finance a federal buyout a lawsuit against the city to halt the of heavily damaged homes for 100 demolition, and on January 18 aSPECIAL HURRICANE REPORT percent of their pre-Katrina market federal court ruled that homeown- value, less mortgage and insurance. ers must be given seven to 10 daysNew Orleans reveals first master plan for The plan also supports creation of a notice before demolition. Locals Crescent City Rebuilding Authority, also expressed concern that a third-rebuilding composed of paid professionals, to party panel composed largely ofOn January 11, members of the After Katrina, 50 percent of New manage redevelopment. Beckman nonresidents would determine theUrban Planning Committee of New Orleans houses were flooded with said the authority should have about viability of neighborhoods that theyOrleans Mayor Ray Nagin’s “Bring at least 4 feet of water, Beckman a 10-year life span. He outlined the feared were being viewed more asNew Orleans Back Commission” said. The storm ravaged about committee’s ideas for financial sup- plans and abstract concepts than(BNOBC) presented their long-term 110,000 houses, and at least port for the plan, including bonding as their homes. 25,000 of the city’s options, tax credit incentives, below- The commission now has its 38,000 historically market interest-rate loans, and work cut out for it if it is to meet its significant properties separate funding institutions. The self-imposed deadlines. By January were damaged. committee proposed a four-month 20, Kroloff and local architect Ray The urban plan- delay in the issuance of building per- Manning, AIA, were to begin forming ning committee’s mits in heavily damaged areas, neighborhood planning teams. The rebuilding framework allowing time to assess their viability. two have pledged to have the groups includes not only a call One of the biggest challenges organized by February 20, and to for greater flood and faced by the committee, admitted have them identify the number of storm water protection, Canizaro, is devising a long-term goal residents committed to returning to but suggests, in some in the face of so many unknowns, New Orleans by March 20. By April cases, using canals including future population estimates 20, the committee hopes to secure and canal edges for and revenue streams. Meanwhile, funding to enable homeowners whoThe committee presented a rough conceptual park space and setting the state is expected to release its don’t want to rebuild to be boughtsketch of a future New Orleans neighborhood. up a citywide light-rail own plans for rebuilding, and it is not out. By May 20, Manning and Kroloff transit network to con- known how the plans will merge. One will present the information gatheredvision for rebuilding the city. Dubbed nect neighborhoods, downtown, the of the primary concerns among local by the neighborhood planning teams. I M A G E S : C O U R T E SY B R I N G N E W O R L E A N S B A C K C O M M I S S I O N ( TO P ) ; © TO M S AW Y E R ( B OT TO M )“comprehensive and aggressive” by airport, and Baton Rouge and the residents is that they will be excluded All committees of the BNOBC willcommittee chair Joseph Canizaro, a Gulf Coast. The plan also embarks on from the rebuilding process. Building make a final presentation on Junelocal real estate developer, and “con- improving neighborhood infrastruc- committee director Reed Kroloff, 20, and the urban planning commit-troversial” by Mayor Nagin, the plan ture, schools, cultural and community dean of Tulane University’s school of tee expects to complete a financialmarries visionary concepts for a facilities, health facilities, and retail. architecture, pledged to utilize all analysis, secure funding, and begin“bigger, better New Orleans” with The plan is based on the prem- means, including the Internet and reconstruction by August 20.tangible deadlines for participants. ise that the federal government will public access channels, to include Through its efforts, the building John Beckman, principal with provide the promised hurricane pro- residents in planning the rebuilding. committee is “setting up a modelPhiladelphia firm Wallace Roberts & tection system, Canizaro said. Before Residents are understandably for the next major community thatTodd (WRT), master planners for making specific neighborhood plans, wary, especially in light of the city’s suffers a catastrophic event,” Kroloffthe BNOBC, detailed the plan to a urban planners are awaiting FEMA’s quick slating for demolition of said. “More than half the country livespacked (and often contentious) release of its base-flood-elevation storm-damaged homes in some in an area of geographic instability.”room at the Sheraton New Orleans. maps, which could determine where neighborhoods. Initially, 55,000 Angelle Bergeron Congress approves $29 billion for Gulf rebuilding On December 30, President Bush approved a bill that will Corps of Engineers to rebuild levees in New Orleans (a send $29 billion in aid to the Gulf Coast, to help the region breached levee in Plaquemines parish is pictured at left) rebuild from recent hurricanes. The hurricane relief pack- and carry out other work in the region; $2.75 billion for the age was part of a defense appropriations measure, which Federal Highway Administration, including money to rebuild the Senate passed on December 21 and the House passed area roads and bridges; and $1.4 billion to the Defense on December 22. Department for repairs at Gulf Coast bases. The new relief For construction, the major element in the legislation plan is nearly twice as large as the $17 billion that was hurricane aid. It includes $11.5 billion in Community Development Block President Bush had recommended, and it has a much heavier emphasis on Grants, much of it expected to go to housing-related needs; $3 billion for the infrastructure than on other other emergency funds. Tom Ichniowski26 Architectural Record 02.06
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    • Record News importance of preserving the area’s heritage, and to show residents most of its front porch during Katrina. It will be documented “alternatives to wholesale demoli- and rebuilt at its current site with tion,” says Morris Hylton III, WMF’s assistance from the Mississippi new project development manager. Heritage Trust and the MississippiSPECIAL HURRICANE REPORT A project timeline and budget Department of Archives and History. have yet to be estab-World Monuments Fund helping to save two lished. The Hecker has already been docu-historic Gulf Coast homes mented, disassembled,Two historic Gulf Coast homes dam- Phillips House, built in 1840, has dis- and stored to save theaged by Hurricane Katrina are tinctive wood detailing, a raised original timbers, siding,receiving some much-needed help central hall, and a broad gallery. The windows, and doors.from the World Monuments Fund two-room Hecker House is a shot- Charles Hecker, its cur-(WMF). The New York–based preser- gun-type worker’s cottage, which rent owner, is planning tovation group launched a restoration dates back to 1780. The homes are sell the building’s lot. Butpilot program in December with situated side-by-side along North he has donated its mate-$260,000 in start-up funding from Beach Boulevard, a historic district rials and remnants toAmerican Express, the David Berg well known for its residential architec- the WMF, which is acting Workers dismantling the Hecker House.Foundation, and the Florence Gould ture in styles including Greek Revival, as project steward. TheFoundation. The two landmark resi- Queen Anne, and Colonial Revival. town of Bay St. Louis and the WMF is also developing adences, the Phillips House and the The two houses sustained Hancock County Historic Society demonstration project for a 19th-Hecker House, are located in Bay St. significant wind and flood damage are seeking a new site. century double-shotgun house inLouis, a small waterfront community and will require extensive repair and The Phillips House, owned by the Holy Cross neighborhood of New30 miles west of Biloxi, Mississippi. rebuilding. Their eventual resurrec- local resident Dorothy Phillips, lost Orleans, which it expects to roll out The 11⁄2-story antebellum-style tion is meant to call attention to the its wood siding, second story, and in early spring 2006. Tony IlliaRelaxed Casino siting rules prime Gulf building boomA casino construction years, he says. The that runs along much of the coast. P H OTO G R A P H Y : C O U R T E SY W O R L D M O N U M E N T S F U N D ( TO P ) ; © T H E A S S O C I AT E D P R E S S ( B OT TO M )boom is quietly gather- move should also spark “Ultimately, all the casinos willing on the Mississippi increased tourism as move on land for competitive rea-Gulf Coast to take developers build more sons,” says Rick Quinn, C.E.O. ofadvantage of the facilities to replace the Copa Casino in Gulfport. The Copastate’s post-Katrina casino barges and is primed to begin building anrelaxation of siting rules adjoined hotels, says onshore casino reported to bethat had restricted Creel. The city sees pri- valued at “several hundred millioncoastal casinos to vate dollars as the key dollars,” says Quinn. He says it isfloating locations. to recovery, and Creel awaiting approval of the Mississippi “I expect to see says that proper infra- State Port, which owns the land.Las Vegas–style structure and utilities The Silver Slipper, in Bay St.hotels,” says Beverly must be in place. Louis, which suffered a total lossMartin, executive Landy’s, owner of after Katrina, also expects a fastdirector of the The Hard Rock Casino in Biloxi, Mississippi, was badly Las Vegas’s Golden turnaround. The casino was in theMississippi Casino damaged by Hurricane Katrina. Nugget, has purchased process of moving to Lakeshore,Operators Association. 5.4 acres of land and is Mississippi, from Biloxi beforeShe says many new megastruc- 2005, allowing casinos on the Gulf in talks with the mayor’s office to Katrina. John Ferrucci, casino C.O.O.,tures should emerge within the next of Mexico to be built up to 800 feet move forward with its proposed says all plans were scrapped in favorfive years, with some existing prop- inland. The move has already begun $500 million resort and casino. of a land-based site. He says con-erties also planning to add 20,000 to impact the coast from Biloxi to The company is acquiring land from struction will begin December 15,to 90,000 square feet of retail Gulfport. The mayor of Biloxi has residents who lost homes or who and completion is scheduled forspace. Even though most owners predicted that the city could have would rather sell and relocate than September 2006. “The key is to gethave not announced plans, Martin 15 to 20 casinos in the next three rebuild, Martin says. the casino open and cash flowing,”says they are already in contact to five years, says spokesman Harrah’s Entertainment has says Ferrucci. The Silver Slipperwith architects and engineers as Vincent Creel. The city, which already committed to spending $1 billion for expects to complete its hotel ele-they prepare to move ashore. has nine casinos, expects to see an the construction of two casinos in ment by September 2007 and the Mississippi Governor Haley investment far greater than the $5 Biloxi. They will be placed on either condominiums by September 2008.Barbour signed a law on October 31, billion spent over the previous 13 side of U.S. 90, the beachfront road E. Michael Powers28 Architectural Record 02.06
    • Record News the Final Solution too nicely or theatricalize it. Javits Center and the Holocaust Memorial Museum. He went on to On visits to the death camps, add a luminous addition to the Los he saw how the Nazis twisted the Angeles Convention Center (1993).Architect James Ingo Freed, partner at Pei instruments of progressive industrial He completed the 3.1-million- culture—medicine, law, engineer- square-foot Ronald Reagan BuildingCobb Freed, dies ing—to the manufacture of mass and International Trade Center, alsoJames Ingo Freed, 75, architect of murder. Deeply affected, he created in Washington, in 1998 [RECORD,the Holocaust Memorial Museum a skewed skylight, using metal July 1998, page 58]. Its Classicalin Washington, D.C., died December details derived from what he’d seen exterior contrasts with the exuber-15 at his home in Manhattan, after so that the architecture itself could ant, Modernist monumental dramaa decades-long battle with convey the enormity of the industri- of its internal atrium—a split per-Parkinson’s Disease. alized extermination of millions. sonality attributable to years of Freed was a partner at Pei Born in Essen, Germany, in political meddling that compro-Cobb Freed, of New York City. 1930, Freed had firsthand experi- mised what should have been aAmong his partners, I.M. Pei ence with the Nazi repression of masterpiece. The spatial intricaciesand Henry N. Cobb, Mr. Freed’s Jews. He and his father rode street- of the San Francisco Municipalsignature was his ability to imbue cars through the night to escape Library (1996) are as much a resultcontemporary materials—glass, the violence of Kristallnacht, “the of Freed’s heroic effort to accom-steel, and stone—with a tactile night of broken glass.” With his sister, modate the city’s myriad politicalauthority. he made his way to the U.S. via constituencies as they are of his Freed wrapped Manhattan’s James Ingo Freed. France and Switzerland in 1939. own architectural inclinations.Jacob K. Javits Convention Center His parents arrived two years later Freed won the opportunity inwith a gridded membrane of light-filled lobby, echoing in contem- on one of the last refugee ships. 1994 to design the National Air Forcereflective glass that dissolves the porary terms London’s 19th-century In Chicago, Freed attended the Memorial. But a years-long contro-building’s massive bulk, while con- Crystal Palace, remains among Illinois Institute of Technology (IIT), versy developed over the design’sveying a dignified, monumental Manhattan’s most extraordinary directed at the time by Ludwig Mies potential to overshadow the adjacentsimplicity. He supported the build- interiors. van der Rohe. He would return to Iwo Jima statue group. A new siteing with a space-frame fretwork of Freed struggled in the realiza- Chicago to head IIT’s architecture was selected, Freed won a secondrods and spherical socketed nodes tion of the Holocaust Memorial program in the mid-1970s. He briefly competition, and construction hasthat tested the technological limits Museum in Washington [RECORD, worked in Mies’s Manhattan office begun on the three stainless-steelof the construction industry when it July 1993, page 58], worried that before joining Pei’s young firm. spires that soar like contrails intowas built in 1986. Its spectacular, his building would either package He came into his own with the the sky. James S. Russell Donald J. Canty, former editor of Architecture magazine, dies P H OTO G R A P H Y : C O U R T E SY P E I C O B B F R E E D ( TO P ) ; © A L A N F R E E M A N ( B OT TO M ) Donald J. Canty (right) , who died December 14 in Seattle, transformed the created an annual review of new American architecture and devoted AIA Journal from a practice-oriented monthly into an acclaimed internation- entire issues to cities of every description, works by previously unpub- al design magazine. He renamed it Architecture in lished architects, photographs by architects, and 1984, and edited it until the institute sold it to a com- architects’ drawings. mercial publisher in 1989. Had he been asked, he Canty was nonconforming, rebellious, ethical, probably would have named Architecture his top pro- humane, and possessed of a quicksilver mind and a fessional accomplishment and passion. mulish determination, as attested by publishers who Before joining the AIA in 1974, Canty founded tried to bring him and his magazine to heel, or by people City, a short-lived magazine championing urban life who offered physical help. Disabled by childhood polio, and the amelioration of poverty and social injustice. he moved with difficulty on metal crutches. His zeal for racial equality spurred two volumes: One He liked to say that one reason for Architecture’s Year Later (1969), a response to the Kerner success was that it was not a democracy. Once hired, Commission Report on urban violence, and A Single however, staffers were fiercely defended and given Society: Alternatives to Urban Apartheid (also 1969). plenty of rope. Canty also assembled a stable of tal- Canty, born in Oakland in 1929, started his career as ented contributing editors, including Pulitizer Prize an editor with Western Architect and Engineer, and winners Robert Campbell in Boston, and Allan Temko then moved to New York City as a senior editor of Architectural Forum in San Francisco. In its insistence on editorial independence, innovation, before launching City. and casting a broad net, Canty’s Architecture was a father to today’s Architecture reflected Canty’s broad interests. He broke ground ARCHITECTURAL RECORD. Indeed, RECORD’s editor in chief, Robert Ivy, FAIA, with articles on energy conservation, adaptive reuse of old buildings, who freelanced for Architecture throughout the 1980s, credits Canty as a indoor air pollution, and with postoccupancy building evaluations. He mentor. Andrea Oppenheimer Dean30 Architectural Record 02.06
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    • P E L L A A D V A N TA G E N U M B E R 6 7 : Y O U R P R O J E C T S W O N ’ T L O O K L I K E A L L T H E R E S T. Not every project is cut out for aluminum. Pella builds a broad offering of wood and fiberglass commercial windows to fill any opening. From punched openings to ribbons. Entrances to window SM walls. More choices so you can break the mold. That’s The Power Of Yellow. 8 0 0 - 8 4 - PE LLA www.pellacommercial.com CIRCLE 17 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/© 2006 Pella Corporation
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    • Record NewsAIA sets ambitious agenda for building sustainabilityBy now the statistics are familiar: Buildings use But experts say it is possible. “You can achieve amassive quantities of raw materials and consume 50 percent reduction with existing building technol-nearly half of the energy and 70 percent of the ogy at no extra cost, by simply using the rightelectricity used in the U.S. In late December, in a design strategies,” such as daylighting and passivebold step to reverse buildings’ environmental heating and cooling techniques, says Ed Mazria,impacts, the AIA’s board of directors set a goal of who has spent his career analyzing building energyslashing the fossil fuel consumption of buildings consumption. (See Mazria interview, page 142.)by 50 percent in four years. The goal includes While careful to avoid endorsing any particularadditional reductions of 10 percent every five green-building rating system, the AIA says such sys-years. The AIA also expressed support for con- tems should be consensus-based, with design andsensus-based standards for sustainable design. performance (energy savings) data verified by inde- The need to create a sustainability policy pendent third parties.became clear from the growing body of research Stewart acknowledges that AIA’s statementsabout global warming and buildings’ environmental are for now short on specifics. A sustainabilityimpacts, says R.K. Stewart, FAIA, 2007 incoming task force will be formed in early 2006 to helpAIA president. He adds that the policy also derives the AIA implement its goals in practice and edu-from increasing requests among AIA members for cation, he says, and the board advised the AIA toinformation about designing green buildings. hire a staff architect to further pursue the green To help develop the policy, the AIA hosted a agenda. Vivian Loftness, FAIA, 2005 chair ofsummit in Washington, D.C., in July, 2005, where COTE, adds that architects also need to consider P E L L A A D V A N TA G Eresearchers presented sobering statistics about issues such as land use, transportation planning, N U M B E R 2 4 : O N LYenvironmental degradation. Industry groups such as and infrastructure.the U.S. Green Building Council (USGBC) and the According to Mazria, greener building design OUR BRAND NAME ISGreen Building Initiative (GBI) explained their green and construction could have a greater effect onrating systems to AIA board members, the AIA reversing global warming than change in any MORE DURABLE.Committee on the Environment (COTE), and others. other industry. “What the AIA has done is nothing Stewart admits that a 50 percent decrease in short of monumental,” says Mazria. “But now thefossil fuel use in four years is “an aggressive target.” real work begins.” Deborah Snoonian, P.E. ® ® Introducing Pella Impervia MoMA’s architecture chief leaving for Miami Art Museum commercial windows and patio doors. They’re made from Duracast® Terence Riley, who has been the Museum of Modern Art’s chief curator of architecture and design for the past 14 years, announced in early November that he would leave in early March. And, on January — a fiberglass composite that’s more 4, he revealed that he would become director of the Miami Art Museum, effective March 15. durable than aluminum, provides “I never intended to stay at MoMA as long as I did,” says Riley, who began his career as an the thermal efficiency of wood, yet architect. He adds that construction of the institution’s new addition, designed by Yoshio Taniguchi, kept him on board at the end of his tenure. “After we finished construction, I started thinking about it’s priced like vinyl. Strong solutions doing other things.” Riley led several major shows at MoMA, including recent exhibitions about land- that add value to your bottom line. scape architecture’s emergence (Groundswell) and about contemporary Spanish Architecture (New SM That’s The Power Of Yellow. Architecture in Spain). He also helped install the architecture department in the new building. Among his proudest achievements, Riley points to the highly popular Mies van der Rohe show, Mies in Berlin, which 800-84-PELLA was held in 2001. He says it officially marked Modernism’s return to public favor after years of derision. www.pellaimpervia.com Riley says he had no intention of taking a new job right away, but couldn’t turn down the Miami position, which will allow him to play a significant role in another building project. After securing a major bond measure, the museum is about to build a new, 125,000-square-foot home in the city’s Bicentennial Park. Its current museum, in Downtown Miami, measures only 30,000 square feet. No architect has been selected for the project yet, but Riley says he hopes one will be announced in six to 12 months. Another major challenge, he says, will be convincing Miami’s major art holders to donate funds and artworks to the museum, which will have much more space for acquisitions. Riley is already a part-time resident of Miami, having recently built a second home there. He will replace Suzanne Delehanty, who stepped down on December 31. S.L. © 2006 Pella Corporation CIRCLE 18 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Record News Preservation get cut from I-beams, instead of the usual modular pipes, and don’t require wooden shims or metal I need cross braces. And instead of being painted the typical blue, the 12-foot-high plywood fascia of the Guggenheim’s pedestrian bridge actually cabinetry serves as a slick billboard. A red vinyl graphic of the museum’s name is applied onto panels that are a light beige color. “When people specs to come to see the building, they are coming for the aesthetic experience, so it would have been discordant if the first thing they saw was ugly create great scaffolding,” says Guggenheim spokesman Anthony Calnek. designs. Guggenheim spruces up restoration with custom bridge The restoration of the Guggenheim (by a team headed by preservation architect Wank Adams Slavin Associates) is being performed to at The low-hanging, blue-painted plywood pedes- fix cracking in its concrete structure, which has kraftmaidspec .com trian bridges that accompany construction occurred because it was constructed without projects and building renovations in New York expansion joints. The Guggenheim was one are one of the banes of the city’s streetscape. of the first buildings to use an acrylic-based The structures often obscure entrances, paint on its exterior when it was built in 1959. P H OTO G R A P H Y : © DAV I D H E A L D / S O LO M O N R . G U G G E N H E I M FO U N DAT I O N ( TO P ) ; N E W YO R K P U B L I C L I B R A R Y ( B OT TO M ) create the illusion that businesses beneath According to Calnek, “It was mistakenly thought them are closed, and cast ominous shadows that the paint would act as a ‘cocoon’ around onto passageways. the concrete—that it would expand and contract To help avoid such a situation, when along with the building, and that would compen- Guggenheim Museum officials recently sate for the lack of expansion joints.” embarked on a complicated restoration of their The building’s exterior has now been famous Frank Lloyd Wright building, they had stripped of its white paint, and its bare Gunite their pedestrian bridge custom-designed. The walls are visible for the first time since it typical bridge comes in two code-mandated was built. The project is still in a diagnostic heights, either 8 feet or 16 feet above the side- phase. The actual restoration work, which walk. The Guggenheim’s pedestrian bridge involves plugging the cracks, is expected looms 20 feet above, so the building’s entrance to begin this summer and will last about a is not obscured. The supports for the bridge are year. Alex Ulam Only KraftMaidspec.com lets you download AutoCAD drawings of New York Public Library restores another beautiful space every single cabinet and gives A steady stream of visitors room, which had been detailed information on door has been transfixed by the browned and dulled by pollu- styles, finishes, storage solutions restored Beaux-Arts ceiling tion. The original 20-foot-high and our quality construction. in the New York Public ceiling’s extraordinary deco- Visit KraftMaidspec.com and see Library’s Lionel Pincus and rations included Dutch metal, why so many architects rely on it Princess Firyal Map Division. an inexpensive finish some- as their design resource. Carrère and Hastings times substituted for gold designed the two rooms leaf. The firm relied on the and the mezzanine that “artistry,” says Doern, of con- comprise the 7,000-square- The regilded ceiling draws attention. tractors to apply polychromed foot space in 1911. The area designs with red and green was closed for nine months while New York firm paint, befitting the original room. The ceiling was Davis Brody Bond completed the $5 million ren- regilded and repainted based on the original ovation, and reopened on December 15. The firm ornamental work. The renovation also involved www.kraftmaidspec.com completed the library’s last major renovation, to designing a new, larger reference desk, removing its main reading room, in 1998. World War II–era black-out paint from windows, Project architect Julia Doern focused on and restoring the red quarry floor tiles which had restoring finishes in the Map Division’s reading originally been imported from Wales. Sarah Cox CIRCLE 19 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Record News Preservation Garnier’s Monte Carlo Opera completes renovation Two years after closing for a create additional space for renovation by French archi- artists’ dressing rooms and a tects Alain-Charles Perrot new air-conditioning system. and Rainier Boisson, Charles In the main auditorium, which Garnier’s Beaux-Arts-style took Garnier only eight months Monte Carlo Opera House to build, 522 Mohair-covered reopened last month. seats, gold-leaf decor, and a Inaugurated in 1879, it was 16-foot-high chandelier all completed four years after underwent restoration work. Garnier’s Paris Opera House. The Opera’s majestic auditorium. Financed by local govern- The $32 million restora- ment and the building’s owner, tion included an overhaul of the roof, the stage, the Société des Bains de Mer, the complex the orchestra pit, and the replacement of back- project required the installation of up-to-date stage mechanical equipment, as well as structural equipment while “faithfully restoring the roofing, work on the foundations. Beneath the auditorium, facades, and the interior decoration,” says project 106,000 cubic feet of rock were excavated to director Alain Desmarchelier. Robert Such P H OTO G R A P H Y : © E L I S A B E T H B I L L H A R DT ( TO P ) ; C O U R T E SY G U Y P E T E R S O N O FA ( M I D D L E ) ; M I LT I A D E S M A N D R O S ( B OT TO M ) (at right in photo, left), in order to bring the water- front property value up-to-date. The original house was one of eight proto- types commissioned by the Revere Quality Institute to demonstrate industrial materials’ appeal in private residences. Peterson’s goal is to restore the original house (which will serve as a cabana for the property’s new pool) via its original Rudolph’s Revere House adds working drawings, and to keep the new house true to the original’s vocabulary. Both buildings will addition to help save original use the same materials: steel, glass, structural Revere House, built in Sarasota, Florida, in 1948 concrete, plywood—and similar shapes: horizontal by architect Ralph Twitchell and his then-assistant planes, cubes, and slabs. Peterson’s strategy is Paul Rudolph, has begun restoration by local to keep the living spaces open so the new house architect Guy Peterson. The property will now doesn’t overpower the original. The project is set include a freestanding, 4,800-square-foot addition to be finished in July. Dianna Dilworth Modern movement for Neutra House A simple shack behind a bamboo thicket in Los Altos Community Altos, California, turned out to be one of the most Foundation, and significant examples of Richard Neutra’s residential Los Altos politicians work outside of Southern California. The building approved moving was recently moved to save it from demolition. the house to city- Neutra’s gem, on wheels. The 980-square-foot house was originally owned land in late part of a composition of three small, redwood-clad 2005. The community has raised two thirds of the cottages located in an orchard near Stanford funds to move and restore it. On November 20, it University. Neutra designed them between 1935 was lifted off its foundation, sawed in half, and and 1939. By 2000, the escalation of real estate moved to a nearby orchardlike setting. Local archi- prices meant the land was far more valuable than tect Mark Sandoval, AIA, will help put the pieces the building, so local designer Miltiades Mandros, back together. The restored house will serve as a Assoc. AIA, working with the house’s owner, John meeting space for the Los Altos Community Gusto, organized a campaign to relocate it. Foundation, other organizations, and perhaps as a The owner of the house donated it to the Los local architectural museum. Kenneth Caldwell CIRCLE 21 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • News Briefs ago, after serving since 1996. He was highly influential in establishing Aneha runs a small firm in Ichikawa that has played a role in the GSA’s Design Excellence nearly 200 structures, including Program, started in 1993. He later high-rise residential towers, hotels, GSA creates new post to help headed the program, which helped and temples. On November 17, he chief architect The U.S. General streamline and improve the archi- confessed to designing 21 buildings Services Administration (GSA), tectural selection process for federal in recent years that would not with- which is still searching for a new buildings. GSA employee Les stand a moderate earthquake. chief architect to replace Ed Feiner, Shepherd, who was deputy chief Japan is located atop four tec- FAIA, who left roughly a year ago, architect from 1998 to 2002 and tonic plates, making it especially has created a new position to help director of federal buildings from prone to earthquakes. Because of the chief architect manage con- 2002 to 2005, has been filling in as the risk, the country is known for struction issues. chief architect since last February. its exceptionally strict codes. The new position of Assistant The GSA posted a call for a new Aneha, under pressure from Commissioner for Capital chief architect in April 2005, but developers, apparently used less Construction Program Management closed it at the end of May, citing, structural steel than required, to was posted on December 9. says Winstead, a lack of qualified reduce construction costs. His According to the GSA posting candidates. The GSA reposted the admission prompted several hotels (www.gsa.gov), the job will entail GSA’s new U.S. Courthouse in Seattle. position in December, and is now to close. Condominium owners have giving advice on all policy matters recruiting more aggressively. S.L. fled their homes, while constructionP H OTO G R A P H Y : © F R A N K O O M S concerning the management of the to find ways to deliver these proj- has stopped on other Aneha-related Public Building Service’s capital ects on budget,” he says. As of Japanese architect falsified projects. By mid-December, officials design and construction program. December, the GSA had about 200 earthquake data Japanese had identified 57 buildings with The position is vital, says GSA com- projects under way, at a cost of Architect Hidetsugu Aneha recently deliberately underdesigned seismic missioner of public buildings David about $11 billion. Sixty-four are admitted to falsifying building- resistance—all with fraudulent docu- Winstead, because of the huge new construction, and 112 are ren- earthquake-resistance data on mentation—and had ordered most number of GSA construction proj- ovation projects. several projects in order to save to be demolished. The local police ects. “Everyone is struggling with Feiner left the position of money and win contracts, causing are conducting an investigation into material cost increases and trying chief architect just under a year a national scandal in Japan. possible criminal behavior. T.I. CIRCLE 24 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • News Briefs Luther Partnership in Abilene, Texas, in 1957. He served as presi- M. Young, Jr. Award, honoring social responsibility in the profession. dent of the Abilene Chapter of the Landsmark has been president and AIA in 1973, and president of the C.E.O. of the Boston ArchitecturalHoll designing Denver court- located in the corner of Denver’s Texas Society of Architects in 1993. Center since 1997. Currently, he ishouse Steven Holl Architects, in city government complex, called His national positions establishing thecollaboration with Denver-based “Civic Center”—a large public have included a seat Robert Housemanfirm klipp Architecture, has been park rimmed with government on the AIA board of and the Richardselected as leading designer for a buildings and cultural institutions directors, regional Kirkham Fundnew downtown courthouse in that serves as the heart of the director for NCARB, for Diverse HighDenver. The project will be the city—on the western edge of down- membership in the School Students P H OTO G R A P H Y : C O U R T E SY A M E R I C A N I N S T I T U T E O F A R C H I T E CT Scenterpiece of the city’s downtown town. The 430,000-square-foot, American Architectural Entering the DesignJustice Center, which will include $114 million detention facility Foundation Board of Professions. As chairthe courthouse, a new will be designed Regents, and a series of the AIA Diversitypost office, a new deten- by Washington, of appointments in the Theodore Landsmark. Committee sincetion center, and a D.C.–based Hartman- AIA College of Fellows. 2002, Landsmarkrenovated county jail. The Cox Architects. In Texas, he cofounded the Abilene oversaw development of thecourthouse project is Cynthia Kemper Cultural Affairs Council and the Demographic Diversity Auditexpected to break ground Texas Cultural Trust as chair of the that was submitted at the AIA’sin spring 2007. Tittle taking Texas Commission on the Arts in December board meeting. He Holl was chosen Kemper After the 1990s. He now chairs the is also president-elect of thefor the $99 million, spending almost Abilene Cultural Affairs Council Association of Collegiate Schools$335,000-square-foot James Tittle. five decades in a and Young Audiences, an arts- of Architecture, for which two majorDistrict Courthouse over a variety of state, regional, and education program. David Sokol objectives are “to significantlyshort list that included Robert A.M. national roles for the American improve communication amongStern, Foster and Partners, and Institute of Architects, James D. Landsmark wins Whitney faculty, and … to address seriouslyRichard Meier & Partner. Designs Tittle will receive the Edward C. Young The AIA has announced the issue of lack of diversity inare expected by April. Kemper Award for individual service that it will honor Theodore our faculty and student bodies.” The Justice Center will be to the AIA. Tittle founded Tittle Landsmark with its 2006 Whitney David Sokol CIRCLE 25 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • archrecord.com/archrecord2/ For and about the emerging architect archrecord2 Inspiration abounds this month, beginning with Design, featuring San Francisco Bay Area architect DEPARTMENTS Thom Faulders, whose work is influenced by everything from kitchen sponges to electronics and athletic-shoe design. The theme continues in Work, with two of 2005’s winning designs from the U.S. Department of Energy’s Solar Decathlon, a competition as worthwhile as it is stimulating. Visit Design, Work, Live, and Talk at archrecord.com/archrecord2/ for more inspired new design. Design Thom Faulders: Finding depth in surfaces Thom Faulders appreciates contradictions, and his work exempli- fies his ability to embrace the many sides of architecture—the conceptual and the built, the artistic and the practical, the fixed structure and the perceived space. One of his current projects, a thin, foliagelike, stainless-steel skin for AirSpace, a multifamily housing unit in Tokyo, demonstrates his ideas about the beauty in contrasts. “Surfaces can be a real opportunity,” he says, “and for AirSpace, I was inspired by foam, or a sponge. As an exterior membrane for a building, the lightweight steel becomes a zone where artificial meets nature. It protects the AirSpace, Tokyo, Japan, 2006 occupants from the roadway while at the same time providing a fluid environ- A thin, interstitial environment, ment that changes when sunlight and weather interact with it.” the articulated densities of Faulders says he really found his way to architecture by studying it, leav- AirSpace’s lightweight stainless- the building—a multifamily ing it and becoming an artist, then returning and starting a company called steel meshwork are layered in housing unit. Views are shielded Beige Design; he’s currently rebranding the company, but says he chose the response to the inner workings of behind the skin’s foliagelike cover. name because his anything-but-bland designs contradict its neutrality. Looking for the differences in things, the contrasts, and elements about struc- tures that continue to change is what most interests him about architecture. “We’re hardwired to recognize difference,” he says, “and although there has to be some constant medium to contrast it to, finding that difference, designing it, is fun.” As an installation artist, Faulders says his work was so heavily concept-based that he found he was boring himself and feeling isolated. Getting back to theI M A G E S : C O U R T E SY T H O M FAU L D E R S “meatspace”—a term coined by hackers and techno geeks to refer to the real space we live in, as opposed to cyberspace—helped him find an outlet for concepts that had some practical Particle Reflex, SFMOMA, uses, too. “My work still has strong concept-based and academic underpin- San Francisco, 2001 nings,” says Faulders, “but now it exists in ‘solid space.’ ” Another contradiction? Part of the SFMOMA Experimental “Yes, but I’m always looking for a dynamic way to express myself.” Design Awards exhibition, Particle In seeking to express and create dynamic designs, Faulders says he finds Reflex, made of acrylic panels, was inspiration outside of architecture, in industries such as electronics, aeronautics, tethered in the air with bungee and athletic gear. The iPod in particular has inspired him lately. “It’s not just an cords, allowing for unpredictable artifact,” he says. “It’s flexible, customizable, and practical.” connective patterns to emerge. 02.06 Architectural Record 43
    • archrecord.com/archrecord2/ Claiming to be neither a geek nor a romantic when it comes to design,Faulders says he appreciates innovators, particularly the fresh visions of students.He currently teaches at the California College of the Arts, in San Francisco andOakland. “I enjoy thinkers who keep pushing the envelope,” he says. “Students dothat.” His own projects attempt that push, including installations such as ParticleReflex, his 2001 San Francisco Museum of Modern Art piece that used plastic pan-els held in midair by bungee cords to form a giant volume, at once structured andyet changeable due to environmental stimuli. Whether in plastic, steel, or concrete,Faulder’s work is always seeking mutation. “I see materials as verbs,” he says,“whether they have inherent, verblike qualities or become dynamic as I work withthem.” Faulders doesn’t see architecture as everlasting. “Forces change buildings Deform House/Private Gallery,in time,” he says. “Everything changes. That’s what’s interesting.” Ingrid Spencer San Francisco, 2006 This gallery addition is centered onFor more photos and projects by Thom Faulders, go to a ceiling and rear wall lining thatarchrecord.com/archrecord2/. uses virtual tactics that appear to Chromogenic Dwelling, unbuilt “react” to a person’s presence in the A competition proposal for multi- space. Depending on an occupant’s family housing in San Francisco, position, the randomly spaced the Chromogenic Dwelling solves grooves visually bunch, bulge, and contextual massing issues by align in indeterminate formations. deploying a real-time electronic window system that continually changes its pattern according to the building’s daily occupancy load and individuals’ needs for adjusting light and privacy.Work I M A G E S : C O U R T E SY T H O M FAU L D E R S ( TO P T W O ) ; C O R N E L L U N I V E R S I T Y / J E F F W O L F R A M ( B OT TO M L E F T ) ;Solar Decathlon winners bring on the sunBen Uyeda is fighting a culture war. Butit’s not about guns, gays, or abortion—it’s about solar power. Uyeda is the chiefarchitecture officer for an ecofriendlydeveloper called Independence EnergyHomes. The technical problems in usingphotovoltaic cells to power houses were Designed by students at Cornell University (left) andsolved long ago, he observes, but the the University of Colorado (above), these solar-poweredhard part is altering consumers’ percep- mobile homes placed second and first, respectively, intions. “You can put ‘bio’ or ‘eco’ in front of the U.S. Department of Energy’s 2005 Solar Decathlon.anything and people won’t care unlessyou communicate how it makes their lives better,” says the 27-year-old Uyeda. Cornell’s house placed second in the 2005 Decathlon, surpassed only by To demonstrate value, Independence will partner with developer Growth the University of Colorado’s entry. The Colorado team also hopes to take itsCorridor to build 70 homes in the Berkshire Mountains of Massachusetts later design to a larger audience and is now working with the Genesis subsidiary of U N I V E R S I T Y O F C O LO R A D O ( B OT TO M R I G H T )this year. They hope to convince buyers that photovoltaic cells are a capital Champion Homes. Colorado’s design innovates in more ways than just its archi-expense that can be part of a mortgage and thus yield a fixed cost for energy. tecture. The team invented “Bio-SIPs,” structural insulated panels composed ofIt’s a persuasive argument, given the skyrocketing prices of conventional soy-based insulation and SonoBoard, a lightweight composite paneling made ofenergy sources such as oil and electricity. recycled paper and wood. Julee Herdt, an associate professor of architecture Uyeda, who received his master’s in architecture from Cornell University in at the University of Colorado, cocreated SonoBoard in the 1990s. Although the2005, founded Independence with four other Cornell grads while they were com- product’s manufacturer recently discontinued it, Herdt and the U.S. Departmentpeting in the U.S. Department of Energy’s Solar Decathlon. Held semiannually in of Agriculture’s Forest Products Laboratory are developing a newer version withWashington, D.C., the event challenges student teams to design and build solar- an eye to commercial application in SIPs. Herdt hopes it will be ready for thepowered houses. Richard King, the Decathlon’s founder and director, says judges next Decathlon in 2007. James Murdockmainly look for curb appeal. “One of the barriers to solar power is that people thinkit’s ugly,” King explains. “That’s why we’re looking for photovoltaic systems inte- For more information on the Solar Decathlon and the University of Coloradograted right into a house, rather than just stuck on as an afterthought or retrofit.” and Cornell University’s winning houses, go to archrecord.com/archrecord2/.44 Architectural Record 02.06
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    • Will new plans for the Gulf drown it again, this time in nostalgia? Critique By Michael Sorkin The recent report by the Congress any real attention to the issues of who pay the group’s bills. What a vate sector can produce what we DEPARTMENTS for the New Urbanism (CNU) on the natural systems so crucial in the pity that so much good effort is need, etc.), but even these are ghet- reconstruction of the Mississippi Gulf wake of a disaster whose effects rendered ridiculous by being immu- toized in their own separate—and coast is impressive for the speed of were founded in willful environmen- nized against interpretation, by the easily ignored—report. Bromides to its execution, its voluminousness, tal ignorance. While the report dogmatic insistence that intelligent the contrary notwithstanding, the and its sound recommendations groans with morphological instruc- urbanism must always be sub- CNU—in its actual practice—has for transport infrastructure, neigh- tions, it is virtually mute on servient to the stylistic peccadilloes become the corporate advocate for borhood consolidation, and the 11 mitigation strategies for the of a single imagination and its up- monochrome, strictly residential, towns it examines. But, like so much inevitable future storms and floods, tight tastes. single-class, automobile-based, CNU product, these useful ideas are and offers next to nothing about Because of this narrow fixa- visually homogeneous towns and weighted by a concrete kimono, an energy, cooling, materials, waste tion, the CNU project has become suburbs that increasingly camou- overwhelming fixation on architec- ture, a unitary fantasy of perfection that seeks to prescribe the precise character of every stick and stone in the state. Grafted to the collection of town plans (and promulgated in an accompanying “pattern book” being distributed in the tens of thousands at local Wal-Marts) are reams of model architectural and planning code, generic CNU boilerplate speci-R E N D E R I N G S : C O U R T E SY M O U L E & P O LY ZO I D E S A R C H I T E CT S A N D U R B A N I S T S fying correct forms of architectural behavior, including styles, setbacks, window types, plantings for the front yard, color schemes, gazebos, picket fences, ad nauseam. The New Urbanists and designers working with them envision a new waterfront boulevard for Biloxi, Mississippi. The disproportionate promi- nence of prescription renders management, durable structures, increasingly undemocratic in both flage with hypocritical piety the suspect much of the appropriately wetlands restoration, barrier island style and content, advocating a larger failures of policy—economic, sketchy planning suggestions by protection, or flood-zone policy. To way of building that is constantly social, and environmental—that implying a necessary connection be sure, there is a brief laundry list defended as the people’s choice— they are allegedly designed to between the logic of light-rail or of environmental proposals (gener- as if any such unitary version of “the redress. By serving as the archi- centered neighborhoods and an ally no more than a sentence or people” exists in our marvelously tectes du roi for Haley Barbour and architectural uniformity designed to two each) attached to the “regional diverse country—but posed in a his clique (a marriage brokered by render every shotgun house, corner framework” plan (build one certi- way that offers only the most super- Mississippi real estate developer store, and casino stylistically the fied green building in each town, ficial and exclusionary options. As Leland Speed), the CNU functions same. This relentless specification promote energy efficiency, start with environmental questions, the as a fig leaf and advocate for the is purely formal: almost completely recycling, use rubble for fill, etc.), but CNU report offers a dozen vague Big Business programs and poli- absent from these “smart” codes is the weight of the CNU’s interest is recommendations for “social issues” cies—including massive casino clear. Lip-service to environmental (planning should accommodate construction, upscaling of coastal Contibuting editor Michael Sorkin and social issues smothered in piles diversity, low-income housing should development, environmental negli- is the director of the urban design of maniacal detail on traditional acts “look good,” there should be rental gence, repression of diversity, program at City College of New York. as a nudge and wink to the people and for-sale housing, only the pri- dictatorial planning, the exile of the 02.06 Architectural Record 47
    • Critique poor, and Disneyland culture—that ited to a small number of politicians their sanctimonious official line and business types, well-intentioned allegedly opposes. CNU pattern and dedicated local architects books have nothing to say about standing in for actual grass-roots the rigid patterns of segregation groups or “inexpert” local citizens that their smiley-face architecture and organizations. Of course, so blithely reinforces. the media were there in droves, By coincidence, I happened to and Andres Duany circulated The CNU report includes renderings of typical neighborhoods and streets. be in Biloxi during the CNU charrette majestically among the teams, that helped guide the development accompanied by a film crew to them. It is clearly not possible for a appears to be happening in New of the group’s plans for the Gulf, and record his every pearl. CNU charrette to produce a plan Orleans. Planning initiative there I found it both impressive and horri- The charrette, an important that is not based on Traditional has been placed in the hands of fying. The CNU is nothing if not well and effective planning instrument, Neighborhood Development, on the Bring Back New Orleans organized and was able to summon is an excellent medium for rapidly old-timey architecture, on the whole Commission, which has just more than 100 of its members from getting a large number of ideas on range of self-evident and uniform released its report. The commission around the country to brainstorm in the table and for testing them by truths that they seek to instigate is a mayorally appointed, big-busi- Biloxi. They arrived, took a bus tour, looking for the synergies and com- with minimal inflection everywhere. ness dominated group whose leader and got down to work, organized by promises that help professionals Thus, the town teams find the sites and most influential member is Joe the leadership into teams (each understand and incorporate the for the Celebration-style “neighbor- Canizaro, a real estate developer under the supervision of a trusted needs and desires of those they hoods,” while the architecture and major Bush fund-raiser, who apparatchik) that dealt with individ- seek to serve. CNU charrettes, on teams add stock schtick from heads the commission’s planning ual towns and with common issues, the other hand, seem to be media headquarters to flesh them out. committee. Canizaro, a past presi- including regional development, for the recirculation and validation The outcome of these charrettes is dent of the Urban Land Institute transportation, and architecture. of ideas that are already decided, never in doubt. who has been called, among other Outside participation appeared lim- for telling people what’s best for Something very similar things, the Donald Trump of New CIRCLE 30 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ For more information on the 2006 I-Codes, be sure to visit the ICC booth at the following industry show:REF 44-05-064 CSI Show & Convention, Las Vegas, Booth # 947
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    • Critique inevitable realpolitik of the invinci- ble bottom line—is nothing less destroyed neighborhoods only a year to get it together and reach an than the return of 1970s-style unspecified threshold of viability on “planned shrinkage” so vehemently their own. The intended effect isOrleans, is notorious for his 1990s city as a whole. This was duly com- denounced then as code for an clear. By offering little or no publicrole in fomenting the demolition of a pleted in late November to gales of assault on the poor. It’s no surprise assistance for the effort and sug-large public housing project adjoin- protest. That plan, which has effec- that the places the ULI proposes to gesting that if people are not able toing a 70-acre parcel he was seeking tively framed debate since its abandon are disproportionately find the wherewithal to reconstructto develop. release, was predicated on triage, the homes of low-income African- by the deadline, their neighborhoods Soon after its formation, the idea that certain parts of the Americans. will simply be bulldozed, the planthe Bring Back New Orleans city must be abandoned as too The commission’s own plan continues Katrina’s assault. InCommission turned, mirabile dictu, expensive to save. This structured (like Mississippi’s or Ground Zero’s) Canizaro’s words, “If a neighborhoodto the ULI to formulate a plan for the disinvestment strategy—the simply amplifies the ULI recommen- is not developing adequately to sup- dations, reflecting, as well, the port the services it needs to support position of the Louisiana Recovery it, we’ll try to shrink it.” It is clear Authority (which has recently hired which neighborhoods he is referring the CNU as its planning consult- to. In the words of ex-Mayor Marc ants), the RAND Corporation, and Morial, who is the current president other groups that insist that New of the National Urban League, the Orleans must contract by as much commission has offered a “massive as 40 to 50 percent of its pre- red-lining plan wrapped around a Katrina population. Although the giant land grab.” commission plan suggests that What, one wonders, is the citizens be “allowed” to rebuild any- position of the CNU on this matter? where in the city, it simultaneously To be sure, it will want any recon- undermines the possibility. Not sim- struction to follow its conformist ply does it suspend permitting for architectural taste and will praise another four months—frustrating the new light rail. But what aboutPlans call for a town green surrounded by mixed-use buildings. individual rebuilding—but it gives the real issues, those of justice, The science of daylighting. For 50 years, fulfilling the dreams of architects, building owners and occupants with innovations in daylighting, energy performance and structural integrity. The latest innovations include: • Kalwall+ Nanogel ® The New York Hall of Science, Polshek Partnership, Architects • LEEDTM credit contribution • Anti-terrorism approval 50 Years of Innovation! …Light-Years Ahead! TM 800-258-9777 (N. America) See more at kalwall.com For monumental, translucent clearspan Skyroof TM systems, consider our strategic partners… And for tensioned fabric structures… SPAN SYSTEMS, INC. CIRCLE 32 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Critique ideal subject may be a happy con- sumer committed to traditional family tion” represents the accumulated wisdom of the species. In the effort values but the fallacy is the same: the to codify the architecture of the idea that architecture is not to be Gulf—or New Orleans—in narrowlyequity, responsible environmental CNU entered the world calling for designed for people in all their messy, fixed and eternal normative pat-stewardship, and diversity? With spatial reform as an instrument for squalling, and delightful difference but terns, this slim set of “correct”the volumes of publicity the group creating a better society, espousing as a means of assuring that they con- generalities yields architecturalhas been receiving (not least in this principles both admirable and suc- verge into behavioral sameness. Muzak and laws that insist youmagazine), where are the ringing cinct. And like CIAM, the CNU is Instead of towers in a park, CNU citi- listen to nothing else. Get thosecalls for state and national policies adamant in insisting that these zens will happily inhabit their dryvit damn pink flamingos out of thethat are fair and sustainable? goals can only be accomplished Taras, rocking rhythmically back and yard before the taste police arrive!Where are the demands for citizen by the universal application of the forth on their obligatory porches, ears Fixated on perfection, Newempowerment? Or the protests right style of architecture, pre- cocked for the tinkle of the approach- Urbanism dreams of spotless citiesagainst the Catch-22 of “allowing” scribed down to the clapboards ing Good Humor man. resistant to patina and eccentricity,people to return and simultane- and mullions. The core problem of New the soul-numbing sameness ofously making it impossible for them The issue with such prescrip- Urbanist dogma is neither its stated multinational consumer culture. Into collect insurance, get financing, tions is not the superiority of one principles nor its architecture per its neocon brandscape, “aesthetic”or receive public services? Where uniformity over another, it’s the unifor- se—there’s room for plenty of considerations always trump socialis the heart? Where are the stirring mity itself. Modernism, informed by a styles in a democracy—but its forms of variety, denying the realwords of the great Charter? I am dreamy utopian socialist ideology, pious simulation of consent. While genius of urban growth and trans-not the first to observe that the was grounded in the idea of produc- we can all be grateful for the formation: the power of the city toCNU—as an ideological and organi- ing a universal subject—“a new restored interest in the textures and be its own social and morphologicalzational construct—is remarkably man”—and in architecture’s potential adjacencies of the traditional walk- laboratory, its ability to define its(and deliberately) similar to the to help mold these reborn citizens, ing city that the CNU has helped to singularity through the adventure ofModernism it so acerbically criti- happy workers in identical flats set in promote, there is something deeply invention, conflict, and agreement.cizes for cruel formalist monomania a sunny, salubrious landscape. But wrong in the attempt to distill these New Urbanism founders not on anand self-important manifestoes. that god failed when it became totali- relations into a uniform, replicable excess of affection for the city butLike the Congres Internationaux tarian, when equality was transmuted set of forms, to insist that any one on an excess of fear of its uncon-d’Architecture Moderne (CIAM), the into identicality. The New Urbanists’ architectural interpretation of “tradi- trollable diversity. ■ Insulation Board Mortar Net® Dovetail Shape and 90% Open old-related asthma* can send kids to the doctor…and their M parents to a lawyer. Protect residents health–and your own wealth–by protecting against moisture-buildup in your masonry Weave walls. Our patented MortarNet®, with its unique "dovetail" shape, prevents wall-cavity blockage from mortar droppings. The tough polyester mesh lets air circulate freely. Mortar Net® gives you the best wall-drainage system available. Think of it as cheap insurance for your peace of mind. If you build with masonry, call for more information. We’ll include information on Mortar Net® and HouseNetTM for cavity wall construction and BlockNet® and Blok-Flash®, our moisture management solutions for block construction. *Ask us for a copy of the latest research. Weep Holes/ Weep Vents Use of our products may help you obtain credits toward LEEDTM Green Building Certification. 800-664-6638 Mortar Net® Weep VentsTM www.MortarNet.com/ar BlockNet® Blok-Flash® CIRCLE 34 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • SnapshotP H OTO G R A P H Y : © M I C H A E L M O R A N P H OTO G R A P H Y By Beth Broome Until recently, guards at Leinster House, home to the Republic of Ireland’s Pavilion achieves security parliament, the Houses of the Oireachtas, knew all that passed through the compound’s gates in Dublin. A simple nod gained one entrance into the fore- court and from there on into the parliament, which since the 1920s has through transparency occupied the mansion originally built for the Earls of Kildare and Leinster. Times have changed. To reflect this, Ireland’s Office of Public Works instituted an initiative to bring government buildings up-to-date. To this end, the young Dublin-based architecture firm Bucholz/McEvoy (with Paris-based RFR engineers) was recruited to respond to 21st-century security needs at Leinster House by undertaking a project that included a renovated vehicular entry and stone exit station, and a new “welcoming” pavilion. Rather than taking a fortresslike approach, the Office of Public Works called for the Leinster House Pavilion to be open and transparent, serving as a metaphor for the ideals of government conduct. “The installation is more about security through surveillance and having a panoptic view,” says Merritt Bucholz. “There is nothing particularly 02.06 Architectural Record 55
    • Snapshotdefensive about it.” At the same time,the structure had to help control the entryof parliamentarians and visitors withoutdisrupting two existing London plane treesin front of Leinster House or views of thehistoric building. Not least important,Bucholz recalled with a chuckle, the firmwas told that the pavilion—which wasconceived in anticipation of Ireland’s presi-dency of the European Union, when headsof state would be regular visitors—had to“look good on CNN.” To accommodate the needs of thelong-time guards, the pavilion’s desk wasdesigned first. Bucholz/McEvoy built aplywood mock-up and plopped it down inthe grass to show the employees. Thepavilion evolved around this central ele-ment, made from Irish marble and verticalslats of Irish oak. Conforming to the desk,the flow of foot traffic, the location of theplane trees, and other spatial constraints,the pavilion emerged as trapezoid in plan.Fabricated in Turin, Italy, and assembledon-site, its walls are made of white, heat- Snaking between thestrengthened laminated glass. To optimize London plane trees, thetransparency, most of the structure is Leinster House Pavilionplaced in the roof, with glue-laminated shepherds visitors fromlarch-wood “X” beams providing lateral the street into the fore-restraint so that only slender stainless- court of the democraticsteel columns were required. The roof’s heart of the Republic ofglazing, with heating wires incorporated Ireland.into the PVB interlayer, uses silkscreenpatterning to provide shading. Leinster House Pavilion serves as apleasing transitional space. Providing abridge between the pedestrianism of thecivilian world and the pomp of LeinsterHouse, it at once defers to the mansionand surrounding buildings while making astatement of its own. ■56 Architectural Record 02.06
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    • By Robert Ivy, FAIAFEATURES A dusty haze is settling over Dubai. The particu- late-laden light, which might seem natural for the desert environment, actually comes from human, not natural, activity, at construction sites throughout the emirate, as Dubai transforms itself into a global power point before our eyes. By any measure, Dubai is booming. Already tiny Dubai has catapulted into the Big Building leagues, attracting the attention of major design firms and constructors from around the world drawn to 1,001 fantastic tales. The tallest building! The largest man-made harbor! The most exclusive hotel! The biggest mall! Texas-size hyper- Dubai Rises bole surrounds this 30-plus-mile stretch The former small desert outpost has
    • Dubai Marina (below), developed for 17 buildings, is going up at lightning speed. Sheik Zayed Road (above) is lined with growing rows of skyscrapers.become one of the hottest construction markets in the world
    • Another city rises on the waterfront Images of Dubai’s skyline, with firm architect Scott Oliver. its growing row of ambitious, He notes that though much of often otherworldly high-rises, the region relies on historical have begun to capture the “simulacrum,” the firm was not world’s imagination. But locat- asked “to recreate Georgia.” ed about 30 miles west of this Another major compo- cluster, a new development nent of the development is an along Dubai’s coastline could astounding (some might say be even more astonishing. outlandish) development on The mixed-used project, landfill in the Persian Gulf called Dubai Waterfront (oppo- called Palm Jebel Ali (two simi- site, top three), is essentially lar communities, Palm Jumeira a new city. It is being master and Palm Deira, are being planned by New York–based developed nearby). It will be Gruzen Samton Architects shaped like a giant palm tree. and developed by state-run Palm Jebel Ali, which Gruzen Nakheel developers. The area, Samton is helping to master whose total size has not been plan, will be about 4.7 miles released, will feature its own in diameter at its widest along the Persian Gulf adjacent to Abu Dhabi, but amazingly, much of the airport, and more than 150 point, containing boulevards,FEATURES hype is borne out by the facts. The building explosion deserves the Wild West communities, with a population greenways, houses, hotels, IMAGES: © ARABIAN EYE (ABOVE LEFT AND PRIOR SPREAD); COURTESY GRUZEN SAMTON ARCHITECTS analogy: Dubai is building big and fast. of about 700,000. This includes apartments, retail, and mari- The wealth, obviously, comes from oil. However, the powers that be, ascending rows of high-rise nas. Giant curving rows, or specifically the Crown Prince and the ruling family, have been transferring the offices and apartments, a “fronds,” of house-lined streets economic base to other sources, particularly real estate, a situation abetted by large park, plazas, mosques, will radiate from a 1.5-mile- adjustments to the land-ownership laws, including freehold property, a signif- schools, boulevards, and a long central spine, or “trunk.” icant change announced in 2002. As a result of these measures and a growth in canal. The city’s focal point Commercial buildings and the commercial and industrial sectors, Dubai enjoyed 17 percent growth last will be a downtown core with hotels will be located on the year, a number that far exceeds China’s. Other investors, including individuals its own inner and outer har- edges, or “crescent.” The and corporations from the Middle East, India, and Europe, are depositing dol- bors, called Madinat Al Arab. seabed has already been (OPPOSITE, TOP THREE);© ROBERT IVY (THIS SPREAD, BOT TOM FOUR) lars into the burgeoning economy. They are drawn to its Free Trade Zone status, This zone will be highlighted dredged for the project, and its relative stability, its strategic location (the closest warm winter getaway from by a skyscraper by Pei land has been delivered onto Europe), and to the dynamics of the moment. If you’re a developer or an archi- Partnership (see main story). the island over the past two tect and you’re not in Dubai right now, you’re not a major player. “We have almost complete years. Another landfill devel- For architectural and planning companies dreaming of golden freedom,” says Gruzen Samton opment, being planned by cities rising from the desert, several key developers control the majority of principal Jordan Gruzen, FAIA. Nakheel’s designers, is called the action. The EMAAR group, a public joint-stock company that is listed on The project, first con- The World. It will allow the Dubai financial market, first saw the light of day in 1997. Since that time, ceived a year ago, began investors to purchase various it has initiated increasingly ambitious projects, such as the Burj Dubai moving forward around last islands shaped like countries. July, he says, when about Work on Dubai Waterfront IF YOU’RE NOT IN DUBAI RIGHT NOW, $1.4 billion in property was sold for phase one of Madinat is still being master planned. Completion will be in about 10 YOU’RE NOT A MAJOR PLAYER. Al Arab. Construction should years, although Samton notes, begin by the end of this year. “These things have a tendency District, a major urban development of approximately 500 acres currently The design vision for the new to start growing in unpre- under construction. It will include the Burj Dubai Tower (billed as the city is very contemporary, says dictable ways.” Sam Lubell world’s tallest and designed by the Chicago office of Skidmore, Owings & Merrill), the world’s largest mall (the Dubai Mall), a lake, a mixed-use his- toricist residential/light commercial area (called Old Town), parkland, a lake, and a business hub, among other features. No pipe dream—the cranes are already whirling, preparing the site, while the tower continues to rise. (record intends to follow its development in subsequent articles.) Besides local practices, large foreign firms that have worked, or are busy, in Dubai include HOK, NBBJ, RMJM, Foster and Partners, Zaha Hadid, Arthur Erickson, Arizona-based Architekton, and others from Miami, Toronto, England, Spain, and India. Almost 300 high-rises are now under construc- 62 Architectural Record 02.06
    • Snapshots from the author’srecent trip to Dubai include(left to right): New develop-ment on Dubai Creek; SheikZayed Road; the DubaiMarina; cranes stretchingas far as the eye can see.For more of the author’s travelphotographs, go towww.archrecord.com.
    • Projects on the horizon Foster and Partners describes as “the highest Norman Foster has designed apartment in the world.” a landmark tower in Dubai The building sits on a scheduled for completion in landscaped plinth and fea- early 2008. One Central Park tures a quadruple-height is located on a corner site foyer. Like the Swiss Re Tower in the Dubai International in London, its structure is Finance Centre, a gigantic clearly expressed, this time capital market with several through four tapering, A-frame new buildings. The 1,076-foot, concrete fins buttressed at 80-floor tower will include a the east and west elevations. mix of 25 floors of office The 25 floors of column-free space, with 520 apartments offices are held within from on 47 floors above. These are the fins, beneath the sky crowned by 12 penthouses lobby and residential floors representing what Foster above. Lucy BullivantTALLEST TOWER: The BurjDubai Tower, designed bySOM, will stand, when com-pleted, at 158 stories tall,its spire rising more than2,000 feet. (The officialheight of the building is con-fidential.) The building willinclude 36 floors of officespace, more than 500 hotelrooms and residences, aspa, an observation deck,an antenna, and office andresidential “sky lobbies”and private clubs. S.L.
    • FEATURES tion, according to Emporis Research. Nakheel, a real estate company dealing in freehold property, bears responsibility for additional wonderments, including the fantastically shaped islands in the Gulf—The Palms—which are near completion. An equally ambitious new canal, intended to reach 75 miles into the heart of the country, drew the American architectural firm Gruzen Samton to the emirate, ulti- mately engaging them in the planning for an entirely new town called Dubai Waterfront. Jordan Gruzen, FAIA, characterizes the work, which includes a dredged canal system, transit, and parks that are overlaid with a series of residential plots, as “amazing … the kind of idealized project you might give to a senior class for a semester.” His company’s working relationship has broadened to Nakheel’s second “palm” development, Palm Jebel Ali. New York’s Pei Partnership shares Gruzen’s experience in Dubai— both have seen initial discussions morph into other, larger work. According to partner D.D. Pei, his firm’s primary explorations with a developer even- tually led to a commission for yet another mega-tower, currently located at the critical head of the harbor in Dubai Waterfront, a beacon from the water. How tall is tall? Pei says that plans for this tower initially began at 650 meters (2,132 feet) and have since gone higher. By comparison, remember that New York’s unbuilt Freedom Tower, intended to be the world’s tallest, has been pegged at 1,776 feet. While Pei’s project remains temporarily on hold, he is optimistic that it will start soon. The SOM and Pei towers, on completion, will lead a cavalcade of other tall buildings, most of which top out between 40 and 50 stories. The surreal spirit of the place seems magnified by perspective, with slice after ver- tical slice of hotels and condos lining up along the primary strip, Sheikh Zayed Road, their soaring flanks painted in the pastel Gulf light. The entire assemblage is punctuated by the whirs and clicks and droning engines of building taking place—a three-dimensional, atonal composition. Reality in Dubai can prove even more bizarre than photographs of it. Traffic along the major arterial rivals that of Los Angeles or Phoenix, since every automobile essentially moves along a single vector, from the embay- ment at the heart of the older city to Abu Dhabi. Along the way, with a few REALITY IN DUBAI CAN PROVE MORE BIZARRE THAN PHOTOGRAPHS OF IT. jogs to the seaside or down the occasional cross street, the visitor encounters developments such as Internet City, a free trade zone that houses such famil- iar names as Oracle and Microsoft; or Media City, home to 850 companies and 5,000 workers. Add the financial center and the future “Dubailand,” a $5 billion resort area, and you get something of the picture: Dubai is where Palm Springs meets Chicago.DOSarchitects struction. The tower’s solar Questions abound for the visitor, such as who are the residents,DOSarchitects, a London- panels will attach to the exactly, and who is building all of these projects? Actually, few native citizensbased firm established two exterior cladding and will perform manual labor, relying on an immense influx of international work-years ago, is well on its way rotate as the sun moves ers, who flock to the emirates from Sri Lanka, the Philippines, Indonesia, andwith a commission for a 93- across the sky, making one Malaysia for the work. With the extreme volume of major projects understory tower in Dubai. The rotation per day. The exte- construction, and others on the way, this cheap labor could become a desta-firm has won a competition, rior’s curvaceous, modulated- bilizing factor in the future.held by Dubai-based Kordahi aluminum cladding, which The inevitable question that hovers in the air, coating the high-risesdevelopments, to build the evokes local sand dunes, will like the prevailing construction dust, is whether this bubble couldInfiniti Tower in the Dubai hide the building’s structure. be made of concrete. Jordan Gruzen has no crystal ball, but he has increasingMarina development, where Construction will start confidence. Instead of sandcastles, he sees solid growth.“Each day, we see morecurrently 17 towers are under in November 2006, with an signs of strength,” he says, as the international dollars flow in and the new townsconstruction. opening in early 2009. The take shape. What the character of such a state will become, conceived in such Firm director Tavis Wright mixed-use program includes white-hot heat, remains to be determined after the dust has settled. ■intends to bring sustainable five floors for the lobby, retail,design to the desertlike and gym space, with 10 floorsclimate, an idea that seems of parking, and 78 floors oflargely ignored in Dubai con- residences. Sarah Cox 02.06 Architectural Record 65
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    • With Volkswagen’s1930s factory in thebackground, phaenofloats above a plazathat connects the citywith its industrial zone.On the north, it facestrain tracks (right) andthe VW complex.
    • Zaha Hadid pours her ideas of fluid architecture into concrete and glass at the cinematic PHAENO SCIENCE CENTER in Wolfsburg, Germany PRO JECTS
    • While the structural coneswere constructed withpoured concrete, theupper portion of the cityfacade is composedmostly of 40-by-12-footprecast panels punchedwith openings for windows.The building is both asculptural object and apiece of connective tissuewithin Wolfsburg’s urbanfabric (opposite, top andright, and site plan).
    • 1. phaeno Center 2. Train station 3 3. Bridge to Autostadt 2 1 N0 50 F T. 15 M. By Clifford A. Pearson PRO JECTS F ive years ago, a town built as a showcase of 20th-century indus- for the Volkswagen Works and the people employed at the giant car fac- trial production hired Zaha Hadid to lead it into the 21st tory, Wolfsburg has been pretty much a company town ever since. In the century. The selection seemed inspired. Who better to create an 1960s, the city added a layer of cultural institutions with such buildings asP H OTO G R A P H Y : © K L E M E N S O R T M E Y E R , E XC E P T A S N OT E D ; icon of the information age than the high priestess of avant- a library/cultural center by Alvar Aalto and a theater by Hans Scharoun. garde architecture herself? The choice—after an international But it remained largely dependent on Volkswagen as its economic engine. competition that included Enric Miralles/Benedetta Tagliabue from Ironically, Volkswagen itself recognized the need to diversify and built a Barcelona, Barkow Leibinger from Berlin, and Auer + Weber from Stuttgart high-tech theme park devoted to the joys of automobile ownership adja- as finalists—had the right sense of daring, since Hadid in 2000 was stillROLAND HALBE (PREVIOUS SPREAD, INSET) known mostly for her seductive drawings and had completed few buildings. Project: phaeno Science Center, Constanze Stinnes, Liam Young, Chris Fast forward to November 2005 and the opening of the phaeno Science Wolfsburg, Germany Dopheide, Barbara Kuit, Niki Center in Wolfsburg, Germany: Hadid, who won the Pritzker Prize the year Architect: Zaha Hadid Architects— Neerpasch, Markus Dochantschi before, was riding a wave of acclaim after the completion of her Central Zaha Hadid, Patrik Schumacher, Associate architect: Mayer Baehrle Building at BMW’s factory in Leipzig [record, August 2005, page 82], the Christos Passas, Sara Klomps, Gernot Architects Ordrupgaard Museum Extension in Copenhagen, and the Hotel Puerta Finselbach, Helmut Kinzler, David Engineers: Adams Kara Taylor, América in Madrid, where she designed a floor of guest rooms whose Salazar, Janne Westermann, Chris Tokarz Freirichs Leipold (structural); curvaceous, milky white surfaces seem pulled from some architectural Dopheide, Stanley Lau, Eddie Can, NEK, Buro Happold (services) dreamscape [record, September 2005, page 96]. So does phaeno live up to Yoash Oster, Jan Hubener, Caroline Lighting designers: Fahlke & its hype as one of the most anticipated projects of the year? Voet, Silvia Forlati, Guenter Barczik, Dettmer; Office for Visual Interaction It does, although it is flawed. Lida Charsouli, Marcus Liermann, Construction managers: Assman First, some history on its context. Established in 1938 as a home Kenneth Bostock, Enrico, Kleinke, GmbH; Dr. W. Swoboda 02.06 Architectural Record 73
    • A winningstreak beginsFrom 1999 to 2001, Zaha Hadidwon seven international designcompetitions, transforming aboutique office of 15 people intowhat it is today: a major firm with120 employees. The streak beganwith the National Center ofContemporary Arts (MAXXI) inRome and the Bergisel Ski Jump inInnsbruch, then continued withphaeno; a ferry terminal in Salerno,Italy; the Placa de las Arts inBarcelona; a master plan inSingapore; and a museum exten-sion in Copenhagen. By raising herbuilding one story off the ground(sketch, bottom) and creating anundulating plaza underneath thebuilding (below), Hadid added anunexpected element to the program.The jury was impressed. Althoughfine-tuned over time, the design—with its 10 structural “cones” thatcontain programmed spaces suchas a bar and a gift shop (right)—remained remarkably intact duringthe course of the project.74 Architectural Record 02.06
    • To prevent the cov- cent to its factory complex. Called Autostadt and The phaeno site was a leftover triangle strategically located ered plaza from designed mostly by Gunter Henn in High adjacent to the railroad station and between the city proper and being too dark, the Modern style with crisply detailed glass-and-steel Volkswagen’s sprawling factory and theme park. With the reunification architects designed buildings, a few swoopy World’s Fair-like pavil- of Germany in 1989, Wolfsburg’s rail traffic revived and its station a “light carpet” ions, and lush landscaping [record, November became a stop for high-speed trains to Berlin, 100 miles east. Hadid’s floating above it. 2000, page 148], the park opened in 2000 to coin- design for the 130,000-square-foot science museum boldly responds to Functional elements cide with the Hanover World Expo just 40 miles its site, engaging Autostadt while also connecting the city’s commercial such as a bar and to the west. Today, two million people visit and residential core to the industrial sector on the north. The city’s orig- a shop reside in the Autostadt’s car museum, corporate-brand pavil- structural cones. ions, restaurants, and shops each year. “THE IDEA WAS TO OCCUPY STRUCTURE,”P H OTO G R A P H Y : © R O L A N D H A L B E At the same time Autostadt was under SAYS HADID OF THE SPACES IN THE CONES. construction, Wolfgang Guthardt, the head of Wolfsburg’s department of culture, schools, and sport, proposed building a hands-on science “STRUCTURE BECOMES PROGRAM.” museum to further broaden the city’s range of attractions. Guthardt inal plan placed living and manufacturing in discrete zones, separated by championed what became phaeno, helping to develop the program and the Mittelland Canal; Hadid’s building helps subvert that division. And now serving as the director and chairman of the phaeno Foundation. by pushing her museum up close to the canal, she initiated an intriguing (The Greek word phaeno—the root of the English phenomenon—means dialogue between her brand of baroque Modernism and the more “to cast light on” or “discover.”) “This is a practical town, not a university romantic, but equally over-the-top Modernism of Autostadt. Both proj- town,” states Guthardt. “So we wanted to create a hands-on place where ects unfold as a series of cinematic moments and relate to each other as everyone, not just kids, could discover things.” the films of two directors might (say, Stanley Kubrick’s phaeno and 02.06 Architectural Record 75
    • The main entrancehall occupies one ofthe cones that sup-ports the exhibitionfloor but does notreach all the way tothe roof. The complexgeometry of the entrysequence expresses abaroque approach toModern architecture.
    • About 250 “experimen- David Lean’s Autostadt). tal stations” occupy the Nestling her building against the canal open exhibition space also let Hadid create a grand plaza on the south (left). Five of the 10 side, facing the city. With its rolling ground P H OTO G R A P H Y : © R O L A N D H A L B E ( TO P A N D B OT TO M L E F T ) “cones” support the roof plane and a track of lights set into the pave- (above right), and some ment, the plaza serves as a sweeping front yard enclose stairs from the that phaeno shares with the city. “The idea was entry level to the display to create a public terrain,” says Hadid. floor (above left). Her second big gesture was to raise Mostly independent of the bulk of the building 23 feet off the ground, the architecture, the opening up views through the site, from the exhibits (opposite, city to Autostadt. “I didn’t want it to occupy the above and below) can ground,” explains Hadid. Instead, it rests on 10 be changed over time. concrete “cones,” curving and canted structural elements of different sizes that seem to warp the building where they meet it. By doing this, the architect created a large, covered public space under the building, an extension of the undulating outdoor plaza in front. Paved with lightweight concrete, then coated with asphalt, this covered plaza works as an otherworldly “moon- scape,” says Hadid’s project architect Christos Passas. To prevent this artificial topography from being too dark or dank, the architects set78 Architectural Record 02.06
    • rhomboid-shaped lights into the underside of the building, creating what Passas calls a “light carpet.” While all of the cones are structural—five rise the full height of the building to support the roof, and five hold up the main exhibition floor—they also contain functional spaces, such as the main entrance hall, an auditorium, a gift shop, a coffee bar, and a special events room. “Structure becomes program,” states Hadid.“The idea was to occupy struc-P H OTO G R A P H Y : © R O L A N D H A L B E ( B OT TO M R I G H T ) ture.” Instead of facing out to the city or Autostadt, the glazed parts of the cones look onto the covered plaza, helping to activate this critical space. Even so, the notion of creating a large covered plaza in northern Germany, where direct sunlight is always welcome, seems questionable. In a place like Hong Kong, where Norman Foster tucked a plaza underneath his Hong Kong Shanghai Bank building, such a move makes more sense. To create the complex geometries of the cones and other curved and sharp-edged portions of the building, the engineers specified self-com- pacting concrete, which doesn’t need to be vibrated. For the flatter sections of the street facade, they used enormous (40-by-12-foot) precast panels with openings punched out for glazing. The roof, which is exposed inside, is a nonsymmetrical grid of 4,700 steel elements, each individually cut by computer-controlled machinery. Although its distorted geometry and mas- sive scale call too much attention to it, the roof is a fascinating structure that 02.06 Architectural Record 79
    • The so-called “pocket” provides space for two levels of exhibits that need either low levels of daylight or a more enclosed home.spans nearly 65,000 square feet of exhibition space with no supports other whirlpools, and Pythagoras’s theorem. Distributed around the interior likethan the five concrete cones that rise the full height of the building. “particles in a field,” the exhibits can be changed piecemeal over time. But Inside the building, Hadid created one enormous exhibition unfortunately, they seem to be disengaged from the architecture.space uninterrupted by columns, floor-to-ceiling partitions, or doors. With its winglike floor plate, faceted elevations, and gracefulInstead, she sculpted space with sloping walls just a few feet high, with curves, phaeno shares many characteristics of Hadid’s other motion-ramps, changes in ceiling height, steps, and a partially enclosed area in the inspired projects, such as her BMW building, ski jump in Innsbruch, andcenter of the display floor dubbed “the pocket.” Traversed by a tunnel-like the National Center of Contemporary Art (a.k.a. MAXXI), now under con-path and surmounted at one point by a wide stair, the pocket offers darker struction in Rome. Its extensive plaza and multiple ways of connecting withspaces for exhibits in which daylight would interfere and an upper level for its setting give it a powerfully urban sensibility. “It’s both an object and amore displays. As she did with the plaza in front of the building, Hadid field,” says Passos. As such, it’s an intriguing hybrid that brings together theimagined what she calls an “artificial topography” and then made it real. enduring notion of architecture as sculpture with a more contemporaryBut this interior landscape works spectacularly well: a fluid, mostly mono- search for expressing the dynamic relationships of an information-driven,chromatic environment that offers a rich variety of spatial and sensory networked world. A lot of architects these days talk about combining theseexperiences for visitors to discover. Hadid’s treatment of the gigantic space two approaches in their work. Zaha Hadid has done it here. ■offers both definition and continuity, creating a multiplicity of places andpaths while making it easy for visitors to see where they are going. Sources Internal glazing: Dorma Automatic The exhibits themselves, which Hadid did not design, have a Exterior metal panels: Huebener & Cone lighting: Prolichthard time living up to the quality of the architecture. Organized into nine Moewsthemes (life, light and sight, movement, wind and weather, micro and Escalators: Schindler For more information on this project,macro, energy, matter, information, and games), the 250 “experimental Elevators: Thyssen go to Projects atstations” display such things as a fire tornado, sounds made visible, Metal and glass facades: Gebr. Gieseler www.archrecord.com.80 Architectural Record 02.06
    • Space flows verticallyup through the museumshop (bottom of photo,this page) by way ofstairs, ramps, and ter-raced display areas.
    • From the Detroit water, relocated theRiver (above), G.M. parking garage, andRenaissance Center inserted glass wallsmay still look the same at the base. It alsoas the complex did in carved out a large,1977 (opposite), but the five-story Wintergardenbase has changed. overlooking a new,Skidmore, Owings & 3-mile-long waterfrontMerrill in Chicago has promenade, whichremoved the elevated connects the complexsouth road blocking to other developmentthe buildings from the (site plan, right).
    • PROJECT DIARY SOM’s radical renovation in Detroit, the G.M. RENAISSANCE CENTER, raises hopes for John Portman’s famous icon of the 1970s By Suzanne Stephens PRO JECTS A ge-related maladies account for a lot of renovations after 25 or detailed. By then, Detroit’s people mover skimmed by the complex, but its so years. These only partly explain why Skidmore, Owings & elevated light-rail lines, installed in 1987 along Jefferson Avenue, obscured Merrill’s Chicago office undertook a radical makeover of John the main entrance. The ring office towers, numbered 100 to 400—which Portman’s Renaissance Center (RenCen), which opened in 1977. G.M. planned to occupy—were not directly connected to each other, and Ironically, much of SOM’s work on the office, hotel, and retail complex cor- access to the office towers through the shopping mall was hard for business rected serious urbanistic and architectural flaws already recognized when visitors to navigate. the $337 million complex was Naturally, age added to the slew of problems. The glass-fiber-rein- brand-new. Bruce Wright, an forced concrete had not weathered well; it was already falling off in places. A architect and writer, pointed out 1988 remodeling of the entrance by SmithGroup now looked dated. these problems in 1978 in Between 1996 and 2004, SOM made major alterations to the building, while Progressive Architecture: The RenCen continued to operate as a hotel and office complex. “It’s like mixed-use complex was divorced rewiring a 747 while you’re flying it,” says Matthew Cullen, the general man- from the city by its placement ager of economic development and enterprise services for G.M. on a 14-acre concrete podium between the 10-lane Jefferson 1967–72: Portman’s moment in Detroit Avenue and the Detroit River. The 1967 race riots in Detroit had left city leaders witnessing the white flight Two large concrete berms con- to the suburbs, while grappling with the socioeconomic problems for those taining HVAC equipment further remaining behind. Meanwhile, in another racially sensitive downtown, the blockaded it from Jefferson Atlanta Regency Hyatt, designed by architect John Portman (who was also Avenue and the rest of down- the developer), had opened the same year. The Portman hotel promised a town. Elevated roads girdled the fresh solution to attracting money and people back to Atlanta’s decaying complex on the east, west, and downtown. As Jonathan Barnett observed, the hotel’s 23-story-high interior south. Inside, the visitors got lost atrium through which glass bubble elevators bobbed, “went against all the among a disorienting array of conventional wisdom of hotel design at the time it was planned” [record, ramps, escalators, and elevators June 1976, page 103], and the media, hotel chains, and urban planners were created by a repetitive circular bowled over. Soon Portman hotels were sprouting up at Chicago’s O’Hare geometry of the poured-in-place Airport, in Los Angeles, San Francisco, New York, and again in Atlanta. concrete atrium and hotel. Views of the water were obstructed from inside Detroit was impressed. In 1971, Henry Ford II; James Roche, G.M. chairman; the atrium: Only by taking the glass elevator up the outside of the hotel shaft and other leaders got 51 corporations, including major auto companies, to to the revolving restaurant could visitors be fully aware of the Detroit River. invest $37.5 million in downtown’s rebirth. The Detroit consortium assem-E XC E P T A S N OT E D ; B A LT H A Z A R KO R A B ( T H I S PA G E ) These criticisms didn’t seem to worry city boosters at the time. bled a 32.5-acre site and announced plans for a hotel, office, and retail However, by the 1980s, optimism about the ability of this icon of possibil- development, budgeted at $175 million and designed by Portman, to beP H OTO G R A P H Y : © S O M / J U S T I N M A C O N O C H I E , ities to revive downtown had palled, and RenCen was no longer hailed as named Renaissance Center or, as it was fondly called,“RenCen.” the poster child of urban salvation. Portman’s project hadn’t been able to stanch the flow of the middle classes to the suburbs in the 1970s and ’80s, 1977–78: The extravaganza opens which left an eroded tax base downtown. Meanwhile, the Detroit auto During construction, costs started mushrooming—even though the U.S. industry suffered from severe competition from Japan, and layoffs pro- ceeded at a massive rate. As John Gallagher, an architecture critic, has noted, Project: G.M. Renaissance Center, Detroit (urban design and planning) Detroit in the 1980s was clearly a “Rust Belt City in decline.” Hotels and Architects: Skidmore, Owings & Engineers: Skidmore, Owings & department stores began to close, leaving RenCen, which had absorbed Merrill, Chicago—Adrian D. Smith, Merrill—William F. Baker, partner most of the office demand downtown, marooned on the river—an inward- FAIA, consulting design partner; (structural/civil engineering); turning fortress with no connection to the real city all around it. Richard F. Tomlinson, FAIA, managing Raymond J. Clark, consulting partner By the time General Motors bought the complex in 1996 and partner; Thomas P. Kerwin, AIA, (m/e/p and fire protection). hired SOM/Chicago, headed by consulting design partner Adrian Smith, to Jonathan Orlove, AIA, project man- Interior design: Skidmore, Owings & address its problems, Smith’s list of ills far exceeded those Wright had agers; Philip Enquist, FAIA, partner Merrill—Jaime Velez, principal 02.06 Architectural Record 83
    • When Portman’s was still recovering from a recession. In 1977, Renaissance Center RenCen opened: Four 39-story office towers was completed, two with steel-framed and tinted-glass-and- large concrete berms aluminum curtain walls were positioned around a containing HVAC faced 73-story, 1,400-room circular hotel tower, where Jefferson Avenue, a reflective glass curtain walls wrapped a poured- 10-lane-wide thor- in-place-concrete central shaft. By 1978, only 20 oughfare (above), both of its 100 shops were occupied. While 80 percent of which effectively of 2.2 million square feet of offices was leased or sealed the complex off committed, only 40 percent was filled. Still, 13 from the rest of down- restaurants and lounges with oval pods were town. SOM removed arrayed throughout the center, beginning with a the berms and revolving platform for a bar surrounded by a large redesigned the pond on the lowest lobby level. At the top of the entrance, which had hotel, a three-level restaurant revolved. Yet, only been remodeled by two additional 21-story office towers were built in SmithGroup in 1988. 1981, instead of the six more that were planned. 1978–88: Financial woes, and later a makeover The recession of the 1970s drained Detroit of economic vitality. By 1983, RenCen defaulted on its mortgage for the second time, and the four insur- ance companies that had bankrolled construction (along with Ford) took over 53 percent ownership. When real estate perked up in the late 1980s, the owners decided to spiff up RenCen, and the leasing managers brought in P H OTO G R A P H Y : © BALTHAZAR KORAB (BOT TOM LEF T); COURTESY SOM (TOP RIGHT) SmithGroup (formerly Smith Hinchman Grylls), an architectural firm founded in Detroit in 1853. SmithGroup designed a new, two-story entrance lobby on Jefferson Avenue to make it easier for people to find the front door, introducing then-au-courant gestures of corporate Postmodernism, such as an entry arch and polished granite facing the drab base. The firm alsoAn exploded computer located all retail spaces on the first level, giving each a distinct design identitymodeling (above) of and linking them with a “yellow brick road” of porcelain tiles.SOM’s renovation ofRenCen shows the 1996–2000: G.M. takes overrelationship between In 1996, General Motors bought the core five-tower complex of RenCen,the new elements, such one third of which was empty, to use as its world headquarters. Consideringas the Wintergarden, G.M. paid $75 million for the $337 million complex, this was a good deal,the circulation ring, except that renovations would cost the company $500 million. G.M. stilland the entrance pavil- considers it cost-efficient, as the move consolidated a number of G.M.’sion facing Jefferson offices downtown. It meant leaving the elegant New Center headquarters,Avenue. In 1977 (right), located 5 miles north of downtown in a 1.3-million-square-foot buildingthe entrance was hard designed for G.M. by Albert Kahn in 1922. Initially, G.M. announced 7,000to see from the road. employees would be housed here; currently, there are about 5,000. After an RFP process, G.M. hired SOM’s Chicago office as the master planners and architects for the renovation, with Adrian Smith as lead designer. Through another selection process in 1997, G.M. commissioned Gensler to design the office interiors. In March of this year, G.M. delayed the84 Architectural Record 02.06
    • In 1987, a people moverwas built with an ele-vated track alongJefferson Avenue (right).In order to open up theavenue side more tothe city, SOM removedberms and redesignedand repositioned thepeople-mover stationto the east. In 2005,SOM’s new stationopened (above), arectilinear, three-storysteel structure withfrosted-glass walls.The station connectsvia a pedestrian bridgeto the mezzanine levelof RenCen’s lobby.
    • A A 14 14 11 9 11 1 10 2 8 5 7 3 5 8 7 9 7 1. Entrance pavilion 4 4 4 2. Lobby 3. Atrium 8 5 8 4. Circulation N 5. Retail A A EXISTING PLAN LEVEL TWO RENOVATED PLAN LEVEL TWO 6. Hotel 7. General Motors 8. Wintergarden (below) 9. Glass circulation ring 14 14 10. People-mover station 1 11. Pedestrian bridge to 2 Millender Center 5 2 7 12. Parking/loading 4 4 13. Food court 5 14. Berms (removed) 3 3 6 4 5 6 4 5 4 5 8 5 EXISTING PLAN LEVEL ONE RENOVATED PLAN LEVEL ONE 6 5 12 4 12EXISTING SECTION A-A 6 8 9 13RENOVATED SECTION A-A
    • In order to furtherdefine the entranceto G.M. RenaissanceCenter along JeffersonAvenue, SOM designedan oval glass pavilion,30 feet high, 30 feetwide at the center, and96 feet long (aboveand left). The archi-tects added thelampposts (left) andsandblasted the pol-ished granite fromthe 1988 remodeling,overlaying the panelswith a delicate grid ofstainless-steel strips.
    • The five-story start of the project until the city decided whetherWintergarden (left), to locate three casino-hotel complexes nearby.which overlooks the “We were not thrilled, but deferred to the city,”river, provides a much- G.M.’s Cullen now says about the casinos’ poten-needed orienting device tial proximity. Ultimately, the casino hotels werefor visitors. A glass placed elsewhere, and in June, the south road,skylight supported on known as Atwater Street, was demolished.bowed trusses admits In May 1998, SOM’s design for a $7light to the large hall, million glass walkway got under way. The lumi-and Eucalyptus wood nous floor of the 10-foot-wide ring on theclads the parapets. second level of the center (see plan, page 86, topG.M. has installed an right) is formed of laminated tempered glass withexhibition space (below an acid-etched surface. Bridges lead off the ring toleft) on the lowest level each of the four office towers, as well as to theof the atrium. Wintergarden, G.M. University (a new 30,000- square-foot training center), and the main lobby.Lighted from below, the floor and its balustrade of clear glass with cherryhandrails compete sportingly with the rather gloomy concrete interior. In March 1999, construction began on the south-facingWintergarden, a five-story, fan-shaped space created by cutting throughthree concrete floor plates down to the “A” level, on grade with the DetroitRiver. Views of the water now open up through a large bowed window walland arcing glass skylight. The ample space—surrounded by shops, andincluding a café—which can be transformed quickly into a party hall is filledwith “preserved” (maintenance-free) Washingtonia palm trees. The glass roofis supported by bowed trusses, while ocher paint and Eucalyptus claddingadd warm tones to the interior spaces on gray days.2000–02: G.M. expands its world, makes public improvementsIn 2000, G.M. World, a 50,000-square-foot showroom for the latest car mod-els, made its debut on the first level. The company also arranged forMarriott to manage the hotel, with G.M. owning two thirds and Marriott therest. G.M. agreed to ante up $125 million for renovation costs. The companytook on other real estate ventures nearby, making public its plans to lease 25acres it owned east of RenCen to a residential developer for high-rise condosand rental apartment towers called River East. (As of press time, G.M. waspoised to announce the developer for the project.) At the end of 2001, G.M.assumed the entire lease for the last two of the seven RenCen towers (num-bers 500 and 600), with the idea of renting out the 570,000 square feet ofoffice space and 50,000 square feet of common area to other companies.G.M. also bought the hotel, parking, and retail spaces (but not its condos) inthe Millender Center, just across Jefferson Avenue. In 2002, a 3-mile, $6.2 P H OTO G R A P H Y : © B A LT H A Z A R KO R A B ( O P P O S I T E , TO P T W O )million riverfront promenade, called Riverwalk, opened in front of RenCen.On the Jefferson Avenue side, two large concrete berms were finally removedfor the new entrance, with plans to move the people-mover station, whichhad been hooked into one of the berms, to the east.2004: Entrance and lobby in placeA new, 30-foot-high, 30-foot-wide, 96-foot-long entrance pavilion waserected with single-pane glass walls in 2004. The glass roof of the oval free-standing structure, carried on a bowed truss, is supported by twostainless-steel columns, while vertical double-cable trusses lock the curvedglass walls in place. Also completed that year was the new lobby, a two-levelspace that can be entered behind the transparent pavilion or via mezzanine-level bridges that connect on one side to the people-mover station and onthe other to a pedestrian bridge over Jefferson Avenue to the MillenderCenter. SOM’s Smith worked with British artist Danny Lane to create twoundulating green-glass walls, 4 inches thick and 26 feet high, that extend 45feet on both sides of the lobby and shield activities on the mezzanine levels.
    • When the RenaissanceCenter first opened in1977 (left two), thirteenrestaurants and caféswere sprinkledthroughout the cav-ernous space. Today(below), fewer cafés,restaurants, and fast-food places arelocated in the atriumproper. The recent ren-ovations left ampleamounts of pouredconcrete exposed inthe atrium (below), nowdarker with age.
    • A glass circulation ring The sinuous sculpture, formed of some 2,000 have to declare bankruptcy in the near future to lower pension and labor(above) on the second clear, polished-glass pieces, sits on a concrete costs. The same month, mega-investor Kirk Kerkorian gave everyone the jit-level now links the four curb beam and is laterally braced by bookends of ters by cutting his stake in G.M. from 9.9 percent to 7.8 percent, whileoffice towers. The steel stainless-steel members. Steel trusses cantilevered indicating he wanted a seat on G.M.’s board.ring is suspended by from the mezzanine support the walls at mid-cables 20 feet on level. To guide visitors proceeding from the 2006: Signs of life (for Detroit and RenCen)center, which in turn entrance lobby to the interior, SOM created a During the North American International Auto Show in Detroit inare fastened to the central aisle, edged by a series of staggered January 2006, smaller cars and hybrid cars, particularly those from for-concrete columns. Eucalyptus wood panels that connect in turn to eign manufacturers, including the indomitable Toyota, were getting glazed storefronts (G.M. says they will be used as publicity—yet G.M. remains upbeat about its products. As for RenCen,a media center). Non-SOM additions included two restaurants that opened G.M.’s Cullen says the shops are 70 percent occupied (although at the endin the lower levels that year, plus another on the top two floors (that of 2005, this observer noticed lots of empty storefronts). Cullen is high ondoesn’t revolve). Also by 2004, Riverfront Shops, with 235,000 square feet, the effect of RenCen on the local economy. “Downtown Detroit is doingoccupied two levels around the Wintergarden. terrifically better,” he says. “The city had been in economic free fall, but we helped foster development through this renovation.” Because of other2005: Rocky times for G.M. recent projects built downtown—which include two stadiums, a newIronically, a new, three-story, glass-and-steel station for the mass-transit peo- Compuware building, and the three casinos—Detroit leaders are sayingple mover, connected via a bridge to RenCen’s lobby mezzanine, would open the turnaround has finally occurred, and the city will attract tourists,during the year that G.M. (and the U.S. automotive industry) started tank- residents, and business.ing. In 2005, G.M.’s shares sank and the company cut back on matching As this issue goes to press, the Super Bowl is being held at Fordretirement funds and pay raises. By the summer, G.M. announced the clos- Field, which opened in 2002. For the event, RenCen is hosting theing of assembly plants in Baltimore; Linden, New Jersey; and Lansing, National Football League and is acting as the center for the media, withMichigan. Standard & Poor’s revised its rating on G.M. stock from stable to ESPN even broadcasting out of the Wintergarden. “This place will benegative, and in December, one of its analysts surmised that G.M. might fun,” says Cullen. (Sorry to miss it …)90 Architectural Record 02.06
    • In the new lobby Lessons learned(above), SOM wrapped Who knows the future of RenCen’s renovation concrete columns in and G.M.’s involvement? Nevertheless, the dras- stainless steel and tic changes have definitely improved the installed a wavy glass building and its linkage to the city. (It’s too bad sculpture. Eucalyptus the speedy approval process in 1972 ignored the wood panels (left) edge obvious flaws that finally were addressed.) the central entry path. SOM’s interventions—such as the entrance pavilion, the lobby, the glass circulation ring,and the Cesar Pelli-ish Wintergarden—do make RenCen noticeably morewelcoming, if a bit eclectic stylistically. Yet the ungainly exterior walls of thecomplex and (now dingy) interior concrete remain, along with the irk-someness of not being able to cross the atrium space in a straight line. Thebasic DNA is the same, and you still feel as if you are wandering through aPiranesian parking garage. Perhaps another $500 million could fix that. ■Sources Glass railings: Soheil MosunStainless-steel structure for Granite pavers: Cleveland MarbleWintergarden, circulation ring, and Mosaic Companyentrance pavilion: MERO StructuresGlass for circulation ring: FiglaUSAEucalyptus facing: Bacon Veneer For more information on this project,(Wintergarden); Dooge Veneer (north go to Projects atlobby) www.archrecord.com. 02.06 Architectural Record 91
    • The building’s southwing (this page andopposite) holds aclimbing wall andcongregating space.It is formed by open,steel-hinged trussesbalanced on a singlefulcrum point. A con-crete wall stands onits western face.
    • buildingstudio designs a modern community space, BRIDGES CENTER,that helps mend social divides in Memphis By James Roper T he new headquarters for BRIDGES, a Memphis-based nonprofit Greenlaw, has about 325 feet fronting each surrounding street. As with PRO JECTS that helps promote local community and racial cohesion, could many urban neighborhoods, the area had gone into decline but has lately have been just another “big-box building” sitting next to its begun to experience a rebirth. BRIDGES deliberately chose the site for its parking lot. After all, to accommodate the client’s request for 120 headquarters as a sign of its commitment to the inner city. parking spaces for staff and guests meant that more than half the building James R. Boyd, president of BRIDGES, says the group gave the site in downtown Memphis would have to be covered with asphalt. architects a list of its aims for the building, including a focus on both But the design team, from Memphis’s buildingstudio, avoided local children and the neighborhood. The building also had to respect such a “conventional suburban solution” by putting the parking lot on the the environment and have flexible spaces, which could be used for many roof, with an inclined parking ramp helping to give the building its form, purposes. Not least, Coker points out, the 53,000-square-foot project had says principal Coleman Coker. Such innovative design schemes, it turns out, to be distinctive. are commonplace in this remarkably dynamic, yet still contextual building. The new headquarters, which takes up an entire city block, isP H OTO G R A P H Y : © T I M OT H Y H U R S L E Y The client, BRIDGES, traces its history of youth advocacy back composed of two wings organized around a wedge-shaped open plaza more than 80 years to a program started by the Episcopal church. One of its that extends the length of the property. An open breezeway, framed by a most important goals is to bring together high school students, both white bridge connecting the parking decks on top of the two wings, separates a and African-American, for a variety of activities to encourage understand- ing and cooperation between the races. BRIDGES also helps teach Project: Bridges Center, Memphis Engineer: Guy Nordenson and individuals how to take responsibility for their actions, face challenges with Architect: buildingstudio—Coleman Associates (structural); Arup, New confidence, and work toward common goals for the community. Coker, Jonathan Tate, David York (m/e/p, fp); ETI Corporation The 2.7-acre site, located in the city’s oldest neighborhood, Dieckhoff, Christopher Schmidt, (civil, and landscape architect) Anastasia Laurenzi, Carl Batton General contractor: Jameson Gibson James Roper is a freelance writer and editor who covers architecture and design. Kennon, Collette Reid Construction 02.06 Architectural Record 93
    • One facade of the build- ing, facing the residential neighborhood (left two), contains a small plaza with picnic tables. An open breezeway, framed by the parking deck above, separates a pool from a sloped, grassy ampitheater (bottom). 0 20 FT.SECTION A-A 6 M. 0 20 FT.SECTION A-A 6 M.
    • pool from a grassy area that doubles as an ampitheater. The ampitheater’s by glass. Adjacent are six “breakout” rooms The sloped ampithe-sloped surface provides seating for 1,000 people. where participants split into smaller groups ater, which also serves Coker notes that the architects wanted to create a building that for discussions and activities. These are well as a public space,was itself a “teaching tool,” clearly expressing its tectonics, rather than “try- used: BRIDGE builders, a program for youths seats 1,000. It sepa-ing to design an environment that might superficially appeal to children.” as well as corporate groups, makes use of the rates the building’s Accordingly, visitors can observe much of the structural, climbing wall and a high and low ropes course northern and southernmechanical, and electrical systems of the building, which are exposed, both in the gathering area. Arts BRIDGE, an after- wings and providesinside and out. Translucent wall panels reveal electrical conduits and wall noon arts program for inner-city children, dramatic views offraming; cutaway ceilings show heating and air-conditioning equipment. takes place inside the arts studios located in Memphis’s downtownNowhere is this teaching component more visible than in the structural the building’s northwest corner. Work Pyramid Arena.makeup of the south wing, designed by Guy Nordenson and Associates BRIDGE, which takes place in the building’sengineers. The long-span structure is supported on exposed cantilevered classrooms and activity rooms, provides career development, training,steel trusses on its south and north sides. The north truss tapers up equally placement, and coaching.in both directions from its center, while the south truss tapers up only on its Incorporated into the sustainable design are retention areas foreast side. The supports for the trusses were left visible at the ground, pro- rainwater, photovoltaic arrays that produce electricity, and a solar waterviding further clarification of the structural system. heater for the building’s hot water. Windows are operable throughout, Inside, the building’s wings contain classrooms, arts spaces, staff and the high ceilings feature wide overhangs, especially to the south.offices, and a large gathering hall. The corrugated-metal-lined gathering Natural light is more than abundant in the space. These are features thatarea, which is primarily for student activities, also serves as a meeting and Boyd finds especially appealing. “What do children appreciate the most?”banquet space. The centerpiece of this space, located in the building’s he asks. “Light and air.” Materials with low-embodied energy are usedsouthwest corner, is a 30-foot-high climbing wall surrounded on all sides throughout; and the use of fly-ash concrete recycles waste material oth- 02.06 Architectural Record 95
    • The main meeting space (left) is lined with corrugated metal and glass, allowing copious light inside. A climbing wall (oppo- site, top) is one of many activities that take place inside the main space. Light-filled hallways (opposite, bottom) lead to class- rooms and offices throughout the building. 1. Arts bridge 2. Classroom 3. Offices 4. Activity room 5. Gathering room 6. Ampitheater 7. Garden courtyard 8. Reception area 9. Cafeteria 10. Mezzanine 11. Roof terrace garden 12. Parking 2 2 1 12 2 7 3 3 9A 6 A 7 8 7 4 3 4 3 5 3 11 12 10 4 N 0 20 FT. 6 M. LEVEL ONE LEVEL TWO 96 Architectural Record 02.06
    • erwise headed for the landfill. Two interior gardens and one roof gardenadd to the building’s earth-consciousness. While the building is a notably bold and exuberant structure, itseems perfectly at home in the neighborhood. Instead of being anintruder, it complements its surroundings, both architecturally and inother ways. Boyd says he admires how buildingstudio broke up thefacade of the Fifth Street entrance, so the structure doesn’t appear mon-umental or fortresslike. Indeed, the low-key entrance of the new facilityhas—in Coleman Coker’s words—“its own front porch,” complete withoutdoor tables for casual lunches or places to relax while waiting for aride. But just walk around the corner and head west on Auction, and thefacade gradually changes, soaring dramatically and perhaps pointing theway to a new era. ■Sources Photovoltaic panels: SharpMetal-and-glass curtain wall: ElectronicsUS Aluminum Floor and wall tile: Dal-TileMetal roofing: MBCIGlass glazing: PPG Industries For more information on this project,Insulated panel glazing: Polygal go to Projects atUSA www.archrecord.com. 02.06 Architectural Record 97
    • New and renovatedhousing backdropsthe colorful entranceside of the SantaCaterina Market (thispage and opposite),beckoning visitorsfrom as far away asBarcelona Cathedral(area plan, opposite). Atthe rear of the market,new, white stucco pub-lic housing (this page,foreground) nestles intothe roof’s undulations.
    • EMBT daubs an innovative urban-renewal strategy with a high-spirited riot of color in Barcelona’s SANTA CATERINA MARKET 2 1 3 1. Market 2. EMBT urban renewal 4 3. Av. Francesc Cambò 4. Via Laietana 5. Cathedral 5 N 0 300 FT. AREA PLAN 100 M. By David Cohn T his characteristically uproarious design by Enric Miralles and Historic-center interventions in recent years, financed by PRO JECTS Benedetta Tagliabue (EMBT) does more than transform a dour European Union economic-development grants, weren’t massive slum Neoclassical fresh-food market into a flying carpet of brilliant clearances but did involve large-scale demolition. In the Raval, south- colors and agitated forms. The reconstruction of the Santa west of the Gothic Quarter, new cultural institutions such as Richard Caterina Market—and the architect’s related urban renewal plan for the Meier’s Museum of Contemporary Art preside over large new plazas streets around it—bring life and light into one of the worst slums of and widened streets. EMBT’s work at Santa Caterina grew out of a cri- Barcelona’s Gothic Quarter. tique of these efforts. As the architects explain in their project brief, Steps away from such well-scrubbed tourist attractions as the “Present planning methods are incapable of addressing the complexity Picasso Museum and the Ramblas, the narrow, dim streets and tiny airless of the historic city. Geared for immediate results, they simplify the rulesP H OTO G R A P H Y : © D U C C I O M A L A G A M B A courts of the inner city are notorious for their crowding, poverty, crime, of the game to an unacceptable extreme.” Tagliabue elaborated, “We and lack of open space and services. Though the blocks are gentrifying— tried to break with the pattern of brutal demolitions followed by more rapidly in some areas than in others—they have been subject to rebuilding using very different typologies,” she said, referring to the raw, major urban renewal plans as long ago as the 19th century and as recently simplistic slab-blocks typical of public housing on the periphery. These as the 1990s. The area around the Santa Caterina Market is central, “have nothing to do with the historic architecture of the city core, with located just three blocks from Barcelona Cathedral, which presides over the Gothic Quarter. But people didn’t see a reason to cross the Via Project: Rehabilitation of Santa Tagliabue, Igor Peraza Laietana, a vehicle-thronged avenue that has split the quarter since it was Caterina Market, Barcelona, Spain Engineers: Robert Brufau (general); cut through in an early-20th-century “renewal.” Owner: Foment de Ciutat Vella S.A Jose Maria Velasco (roof); Miquel Architect: Miralles/Tagliabue – Llorens (housing) David Cohn is record’s international correspondent based in Madrid. EMBT—Enric Miralles, Benedetta General contractor: COMSA 02.06 Architectural Record 99
    • Stiffening trusses penetrate the tiled roof (top left). They carry loads to two massive concrete beams. (The can- tilevered extension of one is visible at left. Glazing below the beam sheds light on preserved subter- ranean ruins.) The new plaza behind the market extends existing streets as a light-filled crevice (opposite), bounded by EMBT-designed public housing.its patios and balconies.” Miralles and Tagliabue saw an opportunity in Barcelona’s pro-gram to adapt declining public fresh-food markets to the changingneeds and lifestyles of urban families. When city officials announcedplans in the mid-1990s to replace the badly deteriorated 19th-centurybuilding that housed the market, Miralles and Tagliabue, who livednearby, approached them with an alternative proposal, and they wereofficially awarded the commission in a 1997 competition. The discovery of important archaeological remains on the sitehalted the project for two years, and construction had barely begunwhen Miralles died prematurely in 2000. Opened last May, the marketis just one of a stunning series of projects begun during his lifetimethat Tagliabue has seen to completion, including the ScottishParliament, Edinburgh [record, February 2005, page 98]; the campusof the University of Vigo, Spain; and an office tower for Gas Natural inBarcelona, due to be open this year. The architects retained the white-painted masonry walls onthree sides of the rectangular 1845 market structure, with many archedopenings permeable to the surrounding streets. They brought the samegranite pavers used on city streets in the neighborhood into the market100 Architectural Record 02.06
    • interior “so that everyone understands it’s a public space,” explained A massive glass wall ceramic surface belies this effect. Market stallsTagliabue. Since the market did not need to be so large, the architects (opposite and above), heaped with vegetables, fruits, seafood, meats,demolished the rear wall and cut in an intimate plaza. The microbial shaded by slatted- and other fresh products inspired the 67 colorsvolumes of EMBT-designed housing (for elderly residents displaced by wood panels recalling of the hexagonal tiles.local urban-renewal work) look as if they’ve detached themselves from warehouse pallets, The improbably elaborate supportingthe dense surrounding blocks and floated into the market itself (plan, opens the market to structure (section, opposite), with each layeropposite). Urbanistically, they extend narrow existing streets as light- the rear plaza. Light laid perpendicular to the one below, is typicaldappled crevices, playing off the orthogonal space within which the slicing between EMBT’s in EMBT’s work. The undulating vaults changemarket sits. taller housing (plan, in height and profile as they run from the entry Inside the market, 60 vendors’ stalls mix with shops, cafés, a opposite) dapples its facade to the back of the block, rupturing insupermarket, a restaurant, and community services, with underground porchlike shade. two places to form eyebrow clerestories. Underparking and a pneumatic garbage-collection system. EMBT preserved and the tiles, three layers of thin pinewood lathingopened to display the archaeological excavations of the medieval shape the curves. Joists of hand-crafted laminated wood carry roof loadsConvent of Santa Caterina found on the site. Overlapping the uses in the to long-span, tubular-metal trusses running under the roof valleys.21 million euro (U.S. $25 million) project is part of the neighborhood- Three arched metal trusses cross perpendicular to the vaults, with armsrevitalization calculation. extending downward to suspend the valley trusses and stiffen the vault The brightly colored tile roof, visible from streets and plazas that system. The arch trusses carry loads to two massive concrete beams thatlead to the cathedral, advertises the market like a horizontal billboard. run under the entire roof structure, creating a very large clear span overTagliabue explains that the roof ’s fluid form is meant to suggest the can- the market stalls.vas awnings that cover patios in southern Spain, although its heavy The twisting, tree-branch metalwork that supports the vaults as102 Architectural Record 02.06
    • C D B B D 2 A A 6 6 3 8 8 SECTION A-A 0 20 FT. 6 M. 11. Street canopy (future) A. Concrete main 22. Main entrance supporting beam3. Market stalls B. Valley truss4. Plaza C. Arch truss5. Public housing D. Reused original framing 36. Services7. Ruins below grade C8. Parking A A 6 B B 6 A A 4 5 5 7 5 N 0 30 FT. LEVEL TWO 9 M. 02.06 Architectural Record 103
    • The roof extends over the market’s original walls at the main entrance, facing Avenida Francesc Cambò (top) in contrast to the irregular new wall at the plaza (right). The zigzagging valley trusses and voluptuous wood-framed vaults don’t distract from the brightly lit individuality of the market stalls (opposite). Some origi- nal roof framing was reused (dark members in photo at left).104 Architectural Record 02.06
    • they extend over the street is perhaps the most overtly “organic” gesture, Although the two buildings of the gateway were designed by differentbut colors, textures, forms, and irregular light throughout suggest a ver- architects, they have many things in common that come from the neces-dant park in contrast to the tough urban setting. sity to include the existing architecture.” Officials embraced the urban strategy EMBT proposed, which By strategically introducing new buildings as well as hybridizingextends beyond the market and mixes existing and new construction to and modifying the volumes of existing ones, EMBT surgically consoli-both preserve and reinvigorate the neighborhood’s unique character. The dated what had been the broken, irregular path of the unrealized avenue.market faces the wide Avenida Francesc Cambò, the incomplete stub of a In contrast to the urban-scale order that would have been imposed overmajor avenue that extends a few blocks across Via Laietana as a link to the winding maze of medieval streets, EMBT selectively edited whatthe cathedral. It was part of the massive 19th-century expansion of existed. In this way, the idiosyncrasies of the area’s growth over the cen-Barcelona, laid out by Ildefons Cerdà, that would have tied the medieval turies remain legible in the new, larger structures of open space that hadcity into his famous chamfered-corner gridiron. The unbuilt part of the been created by earlier demolition. As the architects explain in their brief,street, still on the books in the 1990s, contributed to the blight of build- “The first mistake is to talk about old and new. Whatever has managed toings in its path. survive into the present is current, useful, and contemporary. And it per- EMBT’s urban design narrows the avenue-to-nowhere to form a mits us to move back in time in order to continue forward.” ■pedestrian-scaled gateway to the neighborhood beyond, framing it withnew public housing that is literally supported on and extended from Sourcesexisting buildings. Tagliabue explains: “Building out from existing struc- Roof tiles: Ceramicas Cumellatures, you have to maintain many things, such as the height of the floors, Floor paving: Galician granite For more information on this project,or the consequences of one type of construction on another, that in the Wood structure: FRAPONT go to Projects atpast could only be controlled through very elaborate legislation. Doors: Tecfire Doth www.archrecord.com. 02.06 Architectural Record 105
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    • Multifamily Housing Infill Solutions FOUR MID-RISE, MULTIFAMILY HOUSING PROJECTS SHOW THAT HIGH DENSITY, LOW BUDGETS, AND DIFFICULT SITES CAN BE OPPORTUNITIES FOR GOOD DESIGN, NOT OBSTACLES. By Jane F. Kolleeny 1. F ollowing strong growth over the past decade, housing starts BU I LDING TYPES STUDY 854 San Francisco, California will ease off in 2006 to the same level as 2004, according to David Baker + Partners lends a forecasts of the National Association of Home Builders helping hand to struggling (NAHB). While this puts the brake on housing construction’s immigrant families living in the rapid pace in recent years, the overall message is positive, and the level of Tenderloin district. building is considered historically healthy. During this year’s slowdown, multifamily and affordable hous- ing will both do well, says NAHB chief economist David Seiders. Of this activity, infill development—projects on small land parcels close to urban 2. centers—will account for a larger percentage than before, says AIA’s chief economist Kermit Baker. With developable land dwindling and the pop- Judenburg, AustriaP H OTO G R A P H Y : © B R I A N R O S E ( 1 ) ; M A N F R E D S E I D L / A R C H FOTO ( 2 ) ; D O N W E S TO N ( 3 ) ; PAU L B O DY ( 4 ) ulation growing in major urban centers of the U.S., this trend is no Mack Architects’ high-density subsi- surprise. It sets the stage for interesting architectural solutions for build- dized housing pays a whimsical tribute ings that occupy lots deemed difficult until now: peripheral areas or to color while using prefabricated com- locations in downtrodden or abandoned neighborhoods. ponents and modest building materials. Featured here are four mid-rise, multifamily housing projects. Instead of perpetuating sprawl, these projects offer attractive alternatives to the unchecked development of single-family communities. All of these projects embody a socially responsible approach to design, either by 3. virtue of their use of sustainable technologies or by responding to the needs of low-income residents. Each project expresses a modern sensi- Philadelphia, Pennsylvania With this project, Onion Flats takes bility, often working within a modest budget. its imaginative design approach Rag Flats, by the firm Onion Flats, brings new life to a blue-col- beyond the drawing board, going lar neighborhood in Philadelphia, transforming an old rag factory into a on-site to build the property. residential garden community that, among other things, offers a novel interpretation of the Philadelphia “Trinity” row house. For 22 units of subsidized housing at Judenburg West in Austria, Mack Architects used prefabricated panels made of cloth and wood for walls, floors, and col- 4. orful clip-on balconies. K Lofts in San Diego, by Jonathan Segal, shows how a Modern nine-unit development on an abandoned lot in a neigh- San Diego, California borhood of historic houses and apartment buildings can break with Jonathan Segal Architects invigorates convention without diminishing context. At Curran House, set in San the urban landscape of a San Diego Francisco’s rugged Tenderloin neighborhood, David Baker brings a spark neighborhood with a Modern nine- of hope to a block of aging apartment buildings while housing a group unit housing complex. of Asian immigrant families. In its Home Design Trends Survey (www.aia.org/release_ 111705_HDTSQ3), the AIA notes that the slowing of home purchases anticipated for 2006 is due in large part to the increasingly high cost of For more information on these projects, go to Building Types Study at owning a home. This month, we present examples of housing meant for the www.archrecord.com. moderate- and low-income populations marginalized by this trend. ■
    • Curran House San Francisco, California 1 DAVID BAKER CREATES AN OASIS FOR FAMILY LIFE IN A DISTRICT KNOWN FOR BEING INHOSPITABLE. By John KingArchitect: David Baker + Partners, Jammed with weary-looking buildings puzzle where we had this volume andArchitects—David Baker, FAIA, along blocks of drug dealers doing had to slide the units in,” said Curranpartner; Peter MacKenzie AIA, project business, San Francisco’s Tenderloin House architect David Baker, FAIA,architect; Bradley Sugarman AIA, isn’t a neighborhood where you’d who has made a specialty of high-designer; Michelle Peckham, interiors expect to find children. But large density and often low-cost housing.Associate architects: Gelfand RNP numbers of Asian immigrant familiesArchitects now live there, drawn by proximity to SolutionClient: Tenderloin Neighborhood the downtown shops and restaurants Baker’s first move to solve the puzzleDevelopment Corporation where many newcomers find work. came when he convinced city plan-Engineers: Pete O. Lapid + ners to waive the upper-floor setbackAssociates (electrical); Structural Program requirement, allowing the space to beDesign Engineers (structural); In 2001, when the Tenderloin used in vertical notches running theTommy Siu + Associates (mechanical) Neighborhood Development length of the building. The central bay,Consultants: Andrea Cochran Corporation (TNDC) had a chance for instance, was pulled back 12 feetLandscape Architects (landscape); to build housing from the ground to allow for an entry plaza with a palmWilson Ihrig + Associates up, the nonprofit, which manages tree. He also won a variance to elimi-(acoustical); Shift Design Studio 1,600 apartments in 21 buildings, nate the parking, allowing two small(color) knew the population it should serve. storefronts and a basement office forGeneral contractor: Cahill “There are 4,000 children in the TNDC to fill the space. The recessedContractors Tenderloin,” explained Donald Falk, bays add literal relief to the block’s TNDC’s executive director. “There’s tight wall of mid-rise structures.Size: 83,690 square feet a tremendous demand for family From the street, Curran HouseCost: $15 million housing, and very little exists.” resembles a three-dimensional col-Completion date: 2005 Curran House, a 67-unit com- lage. Along the sidewalk on the north plex where 38 apartments have two side, protruding bays are cloaked inSources or three bedrooms, opened in 2005. dark green stucco punctuated byCurtain wall/windows: EFCO It rises from a lot that’s long and rela- square windows in a zigzag pattern,Roofing: Siplast tively shallow, wedged between aged while the south side has verticalGlazing: Pulp Studios apartment buildings on three sides. strips of yellow stucco. For extraDoors: US Aluminum; Haley Door Zoning set the height of one side of variety (and extra space), balconiesLocksets: Schlage the lot at 85 feet and the other at pop out from 20 of the apartments.Closers: LCN 120 feet, with a 20-foot setback from The clean lines of the buildingElevators: Kone the street at the sixth floor. Parking aren’t just for show: They work withGlazing: Pulp Studios spaces were required despite prox- the building’s column and sheer walls imity to subway and bus lines. to define efficiently laid-out, family- “This is the hardest floor plan size units. Indeed, for all the intricacy we’ve ever done—a Rubik’s Cube of a plan that results in 223 unitsFor more information on this project, per acre, the apartments them-go to Building Types Study at John King is the urban design critic for selves feel relaxed; the two-bedroomwww.archrecord.com. the San Francisco Chronicle. apartments are 1,050 square feet,110 Architectural Record 02.06
    • Protruding dark green stucco bays zigzag along the street-facing elevation of the mid- rise apartment building. Sixty-seven units of high-density housing fit into a site surrounded on three sides by older apartment buildings.P H OTO G R A P H Y : © B R I A N R O S E , E XC E P T A S N OT E D
    • 1. Lobby with extensive closet space in the2. Community room master bedroom, as well as storage3. Retail cabinets tucked between the kitchen4. Garden and the living room.5. Social services Though fairly plain, the apart-6. Units ments have small touches that set7. Roof terrace/ Curran House apart from the subsi- community garden dized norm. One or two panes of8. Laundry room glass in each unit are translucent, or9. Utility tinted red or green—not enough to seem lurid, but just enough to add visual texture. And recycled ingredi- ents were used wherever possible, such as linoleum corridor floors made of linseed and sawdust. The biggest surprise of the 6 project is its significant amount of open space—a distinct rarity in the 8 dense Tenderloin. The broad lobby 7 with stained concrete floors has a rear glass wall, which rolls up like a 9 garage door to a courtyard designed 6 by Andrea Cochrane that includes a shallow fountain and extensive landscaping. “Residents shouldTOP LEVEL have space that’s calming and life- supporting, because it’s really harsh out there,” Baker said, referring to the often-edgy Tenderloin scene. Baker also stressed that such land- scaping, on a tight budget, wouldn’t be possible atop an underground 6 6 garage. The dirt would be too shal- low, restricting the greenery to potted plants. He called the trade- off an example of “putting the quality of life over quality of parking.” There’s a roof deck as well, which Baker pulled into the daily 6 6 life of the residents with two quite different functions: a glassed-in TAYLOR STREET laundry room dubbed “the pent-APARTMENT FLOOR house,” which runs along the south edge of the building, and 12 deep metal tubs large enough to accom- modate family gardens. 4 Commentary P H OTO G R A P H Y : © DAV I D B A K E R ( TO P ) 6 6 Viewed strictly in terms of design, Curran House adds syncopation and 2 5 color to a neighborhood where too many blocks are marked by a grim 1 monotony. But the most impressive 5 accomplishment is the gracious humanity once you step inside. 3 3 Curran House sends the message that families should live in buildings 20 FT. that offer a sense of comfort and N0GROUND FLOOR 6 M. respect—regardless of income. ■
    • The project provides whimsical entry,abundant green space stained concrete floors,for its residents—a and Modern interiorrooftop garden (above) elements provide anand a courtyard in the appealing respite fromrear, accessed through the city hubbub (belowa rolling glass garage and opposite, top).door (below and oppo- Apartments are simplesite, bottom). As well, a and modest (right). 02.06 Architectural Record 113
    • Judenburg West Housing Judenburg, Austria 2 MACK ARCHITECTS USES PREFAB COMPONENTS TO CREATE COLORFULLY BEJEWELED SUBSIDIZED HOUSING UNITS IN A SMALL AUSTRIAN TOWN. By Liane LefaivreArchitect: Mack Architects—MarkMack, principal; Arial Asken, designArchitect of record: RolandHagmüller, ViennaClient: Ennstal, WohnbauGenossenschaftEngineer: D.I. Johann Riebenbauer;D.I. Wolfgang Hebenstreit (structural)General contractor: Liebbau WeizSize: 21,000 square feetCost: $2.3 millionCompletion date: 1999Sources If you thought Mark Mack’s Taut, Le Corbusier, Gerrit Rietveld, ates on a lease-to-buy system, inPrefabricated structural system: Southern California buildings were and Theo van Doesburg, Mack which the state subsidizes rents,KLH Massivholz GmbH polychromatic because of some doesn’t have a highfalutin theory to then allows tenants to buy theirWood: KLH Massivholz GmbH local Latino influence, you would be go along with his choice of colors. apartments at low prices after 10Metal roofing: Kalzip; Corus right—but only partly. Mack hails He admits, “There is no academic years. The system not only createsBausysteme from Austria, which unlike its neigh- backing to this. I just think everyday affordable housing, but establishes bor Switzerland, has an architecture life is full of color and multivalent. an incentive for occupants to that historically is as colorful as any And this, the vernacular of real peo- invest in their buildings. The city of in the world. Train stations, churches, ple in the real world, is a quality I Judenburg and the state of Styria castles, schools, factories, hotels, give to my architecture.” He applies sponsored a competition that Mack concert halls, houses, apartment this approach to all his projects, won for the master plan to develop buildings—you name it—all come in whether in Los Angeles or Austria. 600 units of housing and the infra- hues of dusty pink, mint green, burnt structure to support it. The client, a P H OTO G R A P H Y : © M A N F R E D S E I D L / A R C H FOTO orange, pale sienna, baby blue, and Program nonprofit housing provider, hired cobalt. Even the plastic sheeting About three hours from Vienna by Mack to design Judenburg West—a used for wrapping bales of hay in the train, near the center of Austria, 22-unit, four-story building. snowy fields outside of Judenburg Judenburg is a small, 13th-century are an exquisitely pale turquoise. hill town that boasts one colorful Solution Unlike Modernists from the building after another. It happens to For his local collaborator, Mack 1920s and 1930s, such as Bruno be Mack’s hometown. As its econ- chose Roland Hagmüller, who was a omy has grown, Judenburg has friend from his days at the Universität Liane Lefaivre is the chair of Architectural expanded beyond its historic core, der Bildende Künste in Vienna. That History and Theory at the University and the area to the north has was in the exuberant Pop Sixties,For more information on this project, of Applied Arts in Vienna. Her latest emerged as a location for low-cost when the rebellious antics of design-go to Building Types Study at book, with Alexander Tzonis, is Critical social housing. ers such as Hans Hollein, Walterwww.archrecord.com. Regionalism (Munich: Prestel, 2004). In Austria, social housing oper- Pichler, Haus-Rucker-Co, and Coop114 Architectural Record 02.06
    • The exterior of thebuilding is covered bythree layers. First,wood cladding; then,multicolored balconiesin orange, red, yellow,and apple green; andlast, a series of finepoles. Mack createsa pleasing aestheticwith simple, inexpen-sive materials.
    • Himmelb(l)au set the tone. Carrying on the irreverent tone of the ’60s, Hagmüller describes Judenburg West as a “Big Mac” with a street-level concrete garage serving as the bottom “bun” and a lightweight zinc canopy on top. In between, a wood-framed structure contains the apartments, which range from two-to-four-bedroom units. For floors and walls, the architects used prefabricated, cloth- laminated panels made from a strong evergreen wood, a material called KHL (Kreuzlagenholtz) that was developed by a Judenburg fac- tory. The walls themselves are sandwiches made of a layer of KHL panels on the inside, untreated larch-wood cladding on the outside, and insulation and air in between. To keep costs down, the archi- tects designed the balconies as prefabricated elements made of KHL that clip onto the building. Slender stainless-steel poles attached to the balconies stabilize the zinc1. Front garden 6. Storage canopy at the top of the building.2. Balcony 7. Ground-floor unit 2 The canopy functions as a kind of3. Kitchen/dining 8. Back garden umbrella, protecting the untreated4. Living room 9. Commercial wood panels of the facade.5. Bedroom 10. Flex space 1 Unafraid to have some fun, Mack and Hagmüller imbued Judenburg West with a playful 0 10 FT. sensibility. With its polychromatic SECTION A-A 3 M. balconies dressed in orange, red, yellow, and apple green, and its elegant steel poles adorning the 5 facades like fine jewelry, the building 2 3 3 is decked out to the nines. Yet the architects created this effect using 4 4 only simple, inexpensive materials. 5 5 2 2 Commentary Clearly, Judenburg West is notSECOND-FOURTH FLOOR run-of-the-mill social housing. It defies the color blindness affecting A many Austrian architects today, designers who are busy cranking 8 8 out derivative, aesthetically correct 6 6 6 6 wood residences inspired by Peter Zumthor and other Swiss Minimalists. It is ironic that while 7 7 6 10 these designers bend over back- 9 ward to out-internationalize 1 1 International Style architecture, a Southern California–based archi- GROUND FLOOR A N 0 20 FT. tect such as Mack out-Austrianizes 6 M. the local Austrians. ■116 Architectural Record 02.06
    • Bumped-out porchesprotrude on the facadein an irregular patternon some of the units.The metal roofingextends over the woodpanels of the exterior,protecting them likean umbrella. A networkof slender, stainless-steel poles providesrigorous structuralsupport. A street-levelconcrete garage formsthe foundation of thefour-story building.
    • Rag Flats Philadelphia, Pennsylvania 3 WITH GEOMETRY AND COLOR, ONION FLATS CONCOCTS A SURPRISE MIX OF RESIDENCES BEHIND THE BRICK SHELL OF A FORMER RAG FACTORY. By Jane F. KolleenyArchitect/owners/builders: Think with your hands, not yourOnion Flats—Patrick McDonald, heads! That’s the motto of OnionTimothy McDonald, principals; Flats, a Philadelphia architecture firmJohnny McDonald, general manager; founded in 1997 by two brothers,Kurt Schlenbaker, project Tim and Patrick McDonald, whomanager/designer were joined by architect/builder KurtArchitect of record: Weber and Schlenbaker in 1999. ConvertingCompany Architects/Fink und Stange rundown industrial sites into residen-Engineers: Amy Rivera (structural) tial and mixed-use projects, the firmConsultants: Minus Studios has so far completed three develop-(design/build collaborators); Cover ments—Market Flats, Capital Flats,(custom metal design/fabrication); and Rag Flats—doing everything fromConservation Services Group designing, building, and selling to(photovoltaic panel system); managing the properties. The practiceKevin Wright, Juan Garcia (solar has no offices; instead, the teamelectronics); Evergreen Solar (solar goes beyond the drawing board, set-panel manufacture); Anastasia ting up shop on-site to experimentHudgins (landscape) with built forms. To empower a younger generation of architects, theySize: 25,000 square feet employ students from architectureCost: $3.6 million schools of three Philadelphia univer-Completion date: 2005 sities where Tim McDonald teaches, and hire friends to handle work inSources other disciplines as needed.Roofing: Dex-O-TexWood windows and doors: ProgramWeathershield; Pozzi Though the odor of fish has longSecurity: Seidle Intercom system since gone, the name FishtownKitchen cabinets/woodwork: IKEA remains. It refers to an area inPaints and stains: Duron Philadelphia near the DelawareStained concrete: Schofield River where, in the 1830s, when ice P H OTO G R A P H Y : © D O N W E S TO NTile: Dal-Tile refrigeration was a luxury affordable saw an opportunity to build 11 mul- occupied by a family of feral cats,”Dumbwaiters: Butler Mobility only by the rich, fresh catch was tifamily housing units in and around says Tim McDonald.Radiant heat and water system: brought for pickling, salting, or smok- a former rag factory. Combining fourPeerless ing for the less-well-heeled. Today, it kinds of dwelling units on the site, Solution is a tightly knit working-class com- the McDonalds purchased the two- The factory’s shell served as a munity, where ramshackle houses story facility from a local masonry starting place for various types ofFor more information on this project, are passed down through genera- contractor and cleaned it up. “The dwellings. The original rough-hewngo to Building Types Study at tions of Irish Catholic families. abandoned factory had been used red brick became the front and sidewww.archrecord.com. Here in Fishtown, Onion Flats as a dump for 10 years and was walls of two lofts, with two row118 Architectural Record 02.06
    • An interior courtyard of honeycomb-patterned Wilt Street paving blocks with 1 1 1 grass peeking through the cracks provides 5 parking. Switchback 1 4 stairs give access to 1 6 upper floors (right). 7 5 3 3 5 5 2 2 Berk Street 0 20 FT. SITE PLAN N 6 M. houses also on the street-facing adjacent property. Cantilevered ele- side, and a single one-story pavilion ments on the front-facing bedrooms and five three-level units filling out provide space for reading nooks, 3 1 2 the back portion of the site. Called while rear-facing bedrooms feature Trinities, the three-story units are one balconies. Switchback staircases float of Philadelphia’s most characteristic over the courtyard, and accessible residential building types. Onion Flats’ roofs supplement shallow backyards. version of the Trinity stacks the floors The architects clad the build- irregularly, bumping them out on ings with black-stained, cedar 0 3 FT.BASEMENT 1 M. FIRST FLOOR various sides to add space and open tongue-in-groove panels, alternating up the walls to insert windows and with corrugated metal, stucco, and skylights that bring light into the Cor-Ten steel. Inside, bamboo floors, interiors. “The units were designed Pennsylvania-slate countertops so one would rarely need to turn on and tiles, eucalyptus cabinetry, and 6 a light,” says the architect. ceiling fans give the apartments a 4 5 All 11 units are set around an comfortable, Modern look. Custom- 6 7 interior courtyard of bamboo gardens designed steel stairs and bridges and a parking lot laid with attractive both inside and out were fabricated 4 5 turf pavers. Six photovoltiac cells by team members in the welding 5 generate 70 to 100 percent of the and wood shops set up temporarily electricity for the complex, giving on the premises. Onion Flats the project a strong green ethos. An assigned small projects to its stu- underground cistern collects rainwater dent employees as part of itsSECOND FLOOR THIRD FLOOR that is distributed for all nonpotable mentoring program. “We would give uses. Shared spaces include a green a student the project of designing a roof, a community garden, a com- door, and then they own that project. posting area, and a gym. It’s a very good way for them to build TRINITY UNITS To maximize the efficiency of the confidence,” said Kurt Schlenbaker. 1. Den 20-by-20-foot Trinities, the architects 2. Living room designed the roofs as outdoor living Commentary 8 3. Kitchen rooms, equipped with phone jacks, Rag Flats shows how a small project 4. Study Internet connection, electricity, gas, can make a difference in a struggling 5. Bedroom and a dumbwaiter that transports community. Instead of tearing down, 6. Bath refreshments for rooftop gatherings. Onion Flats rebuilt, demonstrating 7. Terrace The two row houses—designed by how sustainable design, hands-on 8. Roof deck Minus Studios, a frequent collabora- architecture, and community engage- ROOF FLOOR tor with Onion Flats—face the street ment can provide the kind of diverse and are sandwiched between the housing needed to turn around a factory wall and row houses on an neighborhood in transition. ■ 120 Architectural Record 02.06
    • Some of the kitchencabinets are composedof a deep burgundypolymer laminate (topleft). Floating metalstairways fabricatedon-site allow naturallight to penetrate theinteriors (top right). The11 units are centeredaround a courtyardwith bamboo gardens.Elegant light fixturesand downspouts areamong the custom-made elements on theexterior. Balconies androoftop living roomsmaximize the use ofthe outdoors, achievinga sense of communitylife in the shared spaceof the courtyard (right).
    • K Lofts San Diego, California 4 USING A SERIES OF UNIQUE GEOMETRIC ELEVATIONS, JONATHAN SEGAL ARCHITECTS DEVELOPS NINE UNITS OF MODESTLY PRICED HOUSING. By Allison MilionisArchitect: Jonathan Segal Architect— San Diego’s Golden Hill neighbor-Jonathan Segal, Wendy Segal, hood displays a colorful history ofGuillermo Tomaszewski, Greg Yeatter, architectural styles, with Victorian,Luke Henderson, Steve Money-Miles, Colonial Revival, and Craftsman-Mark Dakuna, project team style houses, as well as modestOwner: Jonathan Segal Architect, bungalows, 20th-century apart-FAIA ment buildings, and low-riseEngineers: Mobayed Consulting commercial structures lining itsGroup wide streets. For many years,Consultants: Ivy Landscape Golden Hill had been deteriorating,(landscape) as residents moved to the suburbs. But in recent years, professionalsSize: 7,800 square feet and young families have startedCost: $985,000 returning to neighborhoods likeCompletion date: 2005 Golden Hill, eagerly buying up his- toric houses with wide porches andSources expansive yards. But with few ofWindows/entrances/sliding doors: these old houses left on the mar-International Aluminum ket, demand has been growing forWindowmaster innovative multifamily alternatives.Skylights: BristoliteCabinet hardware/woodwork: IKEA ProgramPaints/stains: Frazee; Dal-Tile San Diego architect, developer, andCarpets: Flor Carpet builder Jonathan Segal, FAIA, hasLighting: Halo been an active player in revitalizing a number of downtown San Diego neighborhoods [see RECORD, July 2005, page 146; January 2003, page 180] and envisions Modern apartment complexes merging seamlessly with Golden Hill’s historic single-family homes. An expert at P H OTO G R A P H Y : © PAU L B O DY urban infill who has completed 19 With only 9,000 square feet to additional market-rate units, which housing projects in the city, Segal work with, including the existing pushed the total number of apart- purchased a corner lot on Golden building, Segal proposed an apart- ments to nine. Although the city Hill, where an abandoned conven- ment complex with a street-level approved his plan, it didn’t give him ience store and parking lot stood. garage and a small commercial/retail the necessary variance to includeFor more information on this project, space. By allocating one dwelling the retail space, a big disappoint-go to Building Types Study at Allison Milionis writes on architecture unit as a low-income rental, he ment for Segal, who championswww.archrecord.com. and design for several magazines. qualified for a building bonus of two mixed-use development.122 Architectural Record 02.06
    • Rather than tearingdown an existing con-venience store on thesite, Segal insertedfive two-story dwellingunits into it. A steel-clad tower houses twounits. Inexpensiveexterior finishes suchas painted concrete,stucco, and exposedrusting steel platesgive definition to thebuilding’s dif ferentvolumes and levelsand create uniquecompositions for eachelevation.
    • 6 3 3 1 1 2 0 10 FT SECTION A-A 3 M. . A 1. Kitchen/living/ dining 4 3 3 3 2. Parking 1 1 1 1 1 6 4 4 4 4 3. Bedroom 4 3 4. Bath 3 3 5. Retail 1 1 6. Patio 4 4 3 3 6 6 4 4 3 2 4 1 1 5 3 A 0 10 FT.LEVEL ONE LEVE L TWO 3 M.124 Architectural Record 02.06
    • A white box housestwo units and servesas the showpiece ofthe complex. Sitting ontop of the garage, ithovers over the street,its glass walls reveal-ing open interiorspaces. The geometryof the glass panes,black moldings, andprimary colors recallsa Mondrian painting(above and opposite).The other distinctiveelevation is the steeltower (near right).Interiors are sleek andModern (far right). 02.06 Architectural Record 125
    • Solution their own identities—one a steel- Rather than tear down the old clad tower, the other a horizontal building, Segal opted to use the white box—house the remaining structure, saving nearly $80,000 four units. The tower contains two in demolition and construction bilevel units with plans resembling costs. “It’s good for the environment, those of the adjacent five. The white it’s good architecturally, and it’s box, however, serves as the show- good for us, financially,” he said. piece of the complex. Sitting atop He removed the existing roof and the garage, it hovers above B Street, rebuilt it to support a second story, a wall of floor-to-ceiling glass reveal- then inserted five two-story dwelling ing an open interior of white walls units into the original structure. Four and minimal detail. Segal plays with of the five apartments feature the color on this elevation, and while he same basic layout: an open ground resists the reference, the geometric floor with a kitchen and adjacent patterns of glass panes, black mold- outdoor patio, a custom-made steel ings, and primary colors recall a stairwell along the interior wall, two Mondrian painting. Both units in the small bedrooms, and a bathroom on white box contain three bedrooms the second level. The fifth unit dif- and two baths, as well as a spa- fers slightly in that it includes a cious outdoor terrace off the back. ground-floor bathroom and multi- Segal was able to keep con- purpose room that can double as a struction cost to just $82 a square dining room. foot by using his own crew to frame, Two separate structures with skin, and waterproof the apart- ments, as well as install windows, Simple, off-the-shelf interior elements kitchens, and cabinetry. Simple, off- reduced costs (left). Each apartment the-shelf interior materials, such as contains a custom-designed steel easy-to-install carpet squares, also staircase with a glass railing (below). reduced costs. A custom-designed steel staircase with a glass railing enlivens each apartment, but Segal was able to build it for just $3,000 by using his own workers. Inexpensive exterior finishes, such as painted concrete, stucco, and exposed, naturally rusting steel plates, give definition to the build- ing’s different volumes and levels and create unique compositions for each elevation. Commentary Although it stands out from its cen- tury-old neighbors, and some local residents criticized it when it opened, K Lofts fits well with the scale of the area, and provides a necessary dose of mixed-income housing. Indeed, as part of his strategy of integrating old and new, market-rate and subsidized, Segal doesn’t disclose which unit is “affordable.” And a tour of the com- plex doesn’t easily reveal the answer, as each apartment enjoys equal footing in terms of design and amenities. By working this way, Segal is building a community, not just a housing complex. ■126 Architectural Record 02.06
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    • New Technologies Create New Challenges WITH THE CURRENT EMPHASIS ON TECHNOLOGY AND SUSTAINABILITY, ARCHITECTS AND RESEARCHERS RELY ON BUILDING PROCESS TO MANAGE THE FLOOD OF PRODUCTS, MATERIALS, AND OPTIONS By Sara Hart ARCH I TECTURAL TECHNOLOGY B uilding process is a vague concept with multiple definitions, but it drives every architectural project. It usually refers to the methodology, often inventive and personal, that the architect relies on to steer a project from concept to completion. Process is intrinsic and subjective, so it remains largely an abstraction when eval- uating the finished product. Problem-solving, fact-finding, iteration, integration, intuition, and judgment are elements of process. It reconciles design and construction in practice, but it also guides research out of the laboratory and into the marketplace. The researcher John E. Fernandez is an associate professor of Design and Building Technology in the Department of Architecture at the Massachusetts Institute of Technology (MIT). As a member of the building technology program, Fernandez conducts applied research, as opposed to the funda- mental or theoretical kinds. In other words, the purpose of every investigation is not a series of isolated inquiries in which random mate- rials are selected and tested, but rather the arduous search for commercial application. As Fernandez notes, “Prototypes are the end result in a lot of research, which often means they’re never heard of again. Applied research is slow, but hopefully the findings are permanent.” (All students in the department at MIT are expected to participate in a research project as a requirement of degree completion. Teams are typically made up of interdepartmental faculty and students.) In building technology research, the work is goal-oriented: HowP H OTO G R A P H Y : © PAU L H E S T E R / H E S T E R + H A R DAWAY, E XC E P T A S N OT E D do you join two materials? How do you then attach them to a building? Architecture firms Lake/Flato and BNIM collaborated on a model of sustain- What properties must be added to an existing material to make it viable? able design for the Nursing School/Student Center at the University of Texas. And so on. Fernandez argues that our knowledge base must be expanded to include advances in materials science and engineering. He concedes, how- ever, that “the diffusion of innovation” in the construction industry is slower than in comparable industries. Be that as it may, the irony is that architects and engineers are more focused on new materials and technolo- CON T I N U I N G E DU CAT I ON gies today than they have been in half a century. Use the following learning objectives to focus your study Fernandez has been directing research focused on emerging and while reading this month’s ARCHITECTURAL RECORD/ nontraditional materials (including natural and synthetic fibers, new lam- AIA Continuing Education article. To receive credit, turn inated glass assemblies, and textile building enclosures), innovative to page 136 and follow the instructions. architectural assemblies, sustainable materials, and the technical and design opportunities offered by the continuing exploration of contempo- L E AR N I N G O B J ECT I VE S rary materials. As the principal investigator for the “Multi-Layered After reading this article, you should be able to: Composite Fabrics Research Project” at MIT, Fernandez explored the com- 1. Describe a project that uses applied research with nontraditional mercial potential of textiles as they might be introduced into conventional materials. building systems, particularly facades. 2. Discuss how technology transfer benefits the building process. The design and construction of glass-and-metal building 3. Describe a project where the process is driven by sustainable practices. envelopes is well established and time-tested within the construction industry. Their performance is reliable and predictable. These building For this story and more continuing education, as well as links to sources, systems are generally made up of rigid, orthogonal, unitized components, white papers, and products, go to www.archrecord.com. the sizes of which are generally limited to what workers can move into 02.06 Architectural Record 129
    • This type of chart (below) is useful in research for describing the thermal conductivity for a variety of materi- als in relation to theirARCH I TECTURAL TECHNOLOGY tensile elastic modulus. John Fernandez’s to continuously restrain research into multilay- fabric material in ered composite fabrics order to avoid stress at MIT included an in- concentrations and depth investigation of unnecessary and intru- the detailing required sive fasteners. position and then join together and attach to a structure. While this high-performance fabrics. Gore membranes have most of the characteristics method of enclosing structures has been the standard for decades, required of building envelopes: moisture vapor permeability (breathability), Fernandez has been studying the rapid ascent, within the field of polymer but low water absorption; a high strength-to-weight ratio; low flammability; science, of the development of high-performance textiles. His findings chemical inertness; and good weathering properties. In other words, the have been published in Material Architecture: Emergent Materials for products were a perfect candidate for Fernandez’s investigation. Innovative Buildings and Ecological Construction (Architectural Press, an Fernandez identified two obstacles in the way of a direct tech- imprint of Elsevier, 2006). nology transfer. First, he had to consider the performance implications I M A G E S : C O U R T E SY J O H N F E R N A N D E Z Fernandez chose to explore his thesis, using materials already on when a material is implemented in multiple layers; and secondly, how to the market. Finding a manufacturer to sponsor academic research takes detail the joints and restraints. With regard to the latter, Fernandez insists time. After completing a white paper outlining the scope of his research, that there’s a great deal of precedent in sailboat technology and existing Fernandez spent a long 18 months making presentations to potential spon- tensile fabric structures to inform restraining techniques. Examples sors. In the end, he convinced Gore-Tex, a leader in composite textiles, to include Nicholas Grimshaw’s ETFE pillows for the Eden Project and supply a dozen rolls of material for testing. Its technology is based on Richard Rogers’s PTFE-coated Millennium Dome. expanded polytetrafluoroethylene (PTFE)—better know as Dupont Teflon, In an important development, experiments with those methods and other fluoropolymer products. Whereas these products are now associ- of curtain-wall assembly using textiles required in-depth reconsideration ated with waterproof, protective outerwear, Gore-Tex fluoropolymer of the detail morphology, which typically defines rigid, orthogonal com- products were originally meant to provide innovative solutions for next- ponents. Textiles are strong in tension and ineffective in compression, so generation cable assemblies for electronics, medical implants, and use with a very precise approach to connections is required. Also, nonstructural 130 Architectural Record 02.06
    • In tests at MIT, textiles Different kinds of fiber were laminated to glass weaves and grids and attached to alu- (below) were introduced minum plates to test to provide a range of failure behaviors (left). tensile strengths.textiles, the kind of system Fernandez is most interested in, cannot com- hundreds of yards, the framework can be placed infrequently—only wherepletely prevent the movement of the exterior surface of the fabric caused it is needed at corners and other geometric discontinuities.by the gusting of wind, for instance. Another approach uses the notion of “scales” of fabric to cover This condition led to the use of details that restrain textiles the exterior surface of a building. Again, these areas of textile-covered wallcontinuously along each edge. The most commonly used techniques are are restrained in tension and brought back to the structural support of thefound in sail technologies; these use a cable or compressible filler (such building using an intermediate aluminum framework. However, in thisas a neoprene or other high-density polymer) around which the fabric is case, the scales are more easily adapted to various configurations towrapped and then slipped into a slotted metal tube. Most mainsails are respond to the changing conditions of the seasons and the daily needs andrestrained along their vertical edges in just this way. Other techniques preferences of the occupants.also use an edge cable restraint and reinforced panels with embedded The governing principle behind assembly says the materialcarbon and higher-strength fibers anchored back to points of restraint should be continuous—or put another way, employ as few cuts as possible,on the structure. in order to avoid intrusive fasteners. The benefit of textiles is that they can Detailing multilayered fabrics in this way changes the nature of be continuous. Prefabrication allows for rolls up to 300 yards to be deliv-the building design process. Designs can attempt a continuous textile sur- ered to the site and attached with continuous channels. Fernandezface employing a variety of textiles (Teflon-coated PVC, glass fibers, aramid concluded that it would be possible to close a building in one tenth thetextiles, for example). This is achieved by splicing together the edges of time of a conventional glass-and-metal frame assembly. The next step is tothese various materials and restraining the assembly with an aluminum find a proof-of-concept opportunity (and validation of process) with a realframework set at the edge of the slab. Because textiles can extend many client and project. Fernandez is looking for a commercial office building in 02.06 Architectural Record 131
    • Barrel-vaulted spaces spaces below and at the World Birding includes R-30 insula- Center allow for long tion. Large gravity vents spans and maximum at the ridge exhaust water collection on a hot air without the use contaminant-free metal of motors by drawing surface. A large, vented air in from continuous attic space forms a pro- vents at the eaves and tective air buffer for the end gables.ARCH I TECTURAL TECHNOLOGY Structural-steel light-colored roofing cuts heat gain Radiant barrier sheathing Batt insulation Gapped wood siding over acoustic insulation Shade trellis Concrete 30% fly ash Aluminum windows 75% recycled content Double-wide clay- Winds inlet low and vent high, block wall expelling rising hot air Concrete buttress controls outward thrust of arch panel roof Structural-steel arch Structural-steel light-colored reduces steel use by 48% roofing cuts heat gain Translucent arch panel provides natural daylighting Radiant barrier sheathing into porch and interior space Structural pipe collar controls Batt insulation outward thrust of arch panel Downspout first flush collects initial unclean water from roof Rainwater collection tanks provide water for irrigation Porch orients to southeast, catching prevailing summer breeze Structural pipe column while blocking summer sun which 85 percent of the envelope construction would be traditional, while headquarters for the World Birding Center on a site adjacent to the the remaining sections would consist of textile. Bentsen Rio Grande State Park in Mission, Texas, a major flyover path for local and migratory birds. At one time, the site was fragile. Then it was dec- The practitioner imated. As principal David Lake, FAIA, recalls, “Over the decades, a In contrast to Fernandez’s applied research into nontraditional materials, colonial attitude prevailed, and the Lower Rio Grande Valley was clear-cut San Antonio–based architects Lake/Flato’s work relies on established mate- for agricultural purposes to the point where less than 5 percent of the nat- rials and traditional methods of construction. On a stylistic level, the firm ural habitat remained.” Although this deforested area might not be fuses down-home Texas practicality with a Modernist vocabulary, as impregnated with the contaminants necessary to qualify the site as a D R AW I N G : C O U R T E SY L A K E / F L ATO shown in the two projects presented here. But at a deeper level, the process brownfield, Lake says they viewed what once was a rich river delta, now an is driven by a commitment to sustainability principles and practices. The old onion field, as if it were one. Lake/Flato method, however, does not rely on a checklist of independent, The design process was then driven by methods of restoration quantifiable sustainable features. Instead, its success comes from combin- and reclamation in which the buildings assumed a supporting role. A ing and overlapping these features, thus activating additional benefits that flooded garden dominates the arrival zone. This garden is a demonstration the architects control. In other words, Lake/Flato seeks a whole that is habitat, which exhibits the characteristics of the naturally flooded delta that greater and greener than the sum of its LEED-approved parts. once dominated the area. Arbors, a native plant restoration nursery, a Texas The firm often wins commissions for projects that introduce Ebony shade garden, and several bird habitats are all part of the master plan man-made structures into environmentally fragile areas. In one unusual to restore the area’s ecosystem. case, the Texas Parks & Wildlife Service commissioned the firm to design With priorities focused on the land, the architects pursued forms 132 Architectural Record 02.06
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    • The sophisticated of Houston, from the coating and a low-UARCH I TECTURAL TECHNOLOGY building envelope percentage of glazing value. Users have at the University of used on each facade control of the thermal Texas Nursing to the design of shad- environment through School/Student Center ing devices. The operable windows is tuned to respond to glazing is spectrally and adjustable airflow the climatic conditions selective with a low-E controls. and construction methods that tread lightly so as to do no harm and relate The exterior clay-block walls made in D’Harris, Texas, provide to the ad hoc architectural customs of the valley. Local farmers tradition- a highly efficient thermal mass, but they also lend color and texture to ally cluster buildings to create tree-shaded “comfort zones” for their the surface. The blocks slow heat gain during high-gain periods and houses. The visitors’ center is composed of three main structures, housing release heat at night. Behind the wall is a deep airspace and radiant interpretive exhibits and multiuse space, administrative offices, a gift shop, barrier to repel additional heat gain before the heat reaches the R-19 insulated wall cavity. THE ARCHITECTS PURSUED FORMS THAT The deeply corrugated, barrel-vaulted roof spans a long distance TREAD LIGHTLY SO AS TO DO NO HARM AND with less material and eliminates structural redundancies. As compared to D R AW I N G : C O U R T E SY L A K E / F L ATO traditional truss and deck steel, this system reduces the amount of steel RELATE TO THE AD HOC ARCHITECTURAL required by 48 percent. However, it serves a critical architectural purpose, CUSTOMS OF THE VALLEY. as well. “The vaults of arch-panel shell roof are a reaction to a prominent form in the agricultural vernacular of the area,” explains principal Robert and a café. The three structures are clustered in such a manner as to con- Harris, AIA. “These practical and efficient shell structures are commonly trol shaded areas and garden spaces. They’re oriented on an east-west axis, used for economical barn and storage structures.” parallel to an irrigation canal on the south, in order to capture the pre- “Engineered wood framing was used on the Hawk Tower and vailing summer breezes. The buildings face south, east, and west to block viewing blinds for several reasons,” explains Harris. “First, it has a more the summer sun; on the northern side, vision glass provides views into natural feel in a remote habitat area; secondly, it eliminates the potential courtyards and vistas beyond. for unchecked rust. It’s an efficient use of wood products to choose engi- 134 Architectural Record 02.06
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    • neered material rather than solid stock in larger sizes.” Engineered wood embodied energy (made of materials that require less total energy to has become popular as a substitute for the decreasing supply of old- extract, manufacture, transport, construct, maintain, and discard), local growth trees. The wood comes from plentiful species, such as aspen and materials, daylighting, 60 percent reduced building water consumption, poplar, which typically is engineered into laminated strand lumber (LSL) and natural gray/black water treatment systems. Its sophisticated envelope and treated with a noncontaminant preservative called ACQ, a combina- is tuned to respond to the climatic conditions of Houston, including tion of copper and quaternary ammonium compound dissolved in an operable windows and spectrally selective glazing. alkaline carrier system. Principal Greg Papay, AIA, explains the process by describing There aren’t many projects that call on architects to heal the land the final product. “In the end, highly sustainable building does much to while they’re fulfilling program requirements, so in some ways, the World emulate nature and natural systems. While it’s easy to tell the visual dif- Birding Center is an extreme example. On the other hand, it’s a textbook case ference between a branch and a leaf, just as it is between, say, a facade and of the invisible process that creates architectural form with meaning that is the structural system, the two by necessity are highly integrated, each sup- transparent and comprehensible. Projects such as Lake/Flato’s Nursing porting a larger whole, each other, and the subsystems within their School/Student Center building at the University of Texas Health Science components,” he explains. “In essence, there is a continuum and an inter-ARCH I TECTURAL TECHNOLOGY Center in Houston are more the norm. The university’s administration man- dependence. So the best way for the process to produce that product is for dated that the school be a model of sustainable design, believing that a the process to share the same approach.” building that houses health and wellness programs ought to be healthy itself. In his book, Fernandez warns against the temptation to “distill As with the Birding Center, the final result is more than the an essential meaning from the materials themselves.” The warning accumulation of high-performance materials and low-energy systems. applies to the assignation of value to architectural form simply because But unlike the center, the $57 million nursing school had a complex pro- it’s infused with quantifiable sustainable features. Lake/Flato’s process gram, one driven as much by the status a well-designed, state-of-the-art prevents its work from falling into this trap. The firm appears to adhere facility brings to an educational institution as by its mandate to be a to Fernandez’s dictum that “it is in a material’s use that value is struck model of sustainability. Lake/Flato and the Houston office of BNIM and intention fulfilled—that is, transformation toward meaning from Architects collaborated on the school and achieved that coveted LEED lowly material to humane building is achieved through the action of Gold rating with all the familiar features. The design incorporates low- deep values.” ■ A I A / ARCH I TECTURAL RECOR D 5. Textiles require details that restrain them along their edges for which reason? a. to resist raveling CONT INU ING EDUCAT ION b. to resist compression c. they can extend for hundreds of yards INSTRUCTIONS d. they have strength in tension ◆ Read the article “New Technologies Create New Challenges” using the learning objectives provided. 6. A building facade’s framing members can be placed at fewer intervals for which reason? ◆ Complete the questions below, then fill in your answers (page 198). a. textiles can be continuous up to 300 yards ◆ Fill out and submit the AIA/CES education reporting form (page b. textiles have high-tensile strength 198) or download the form at www.archrecord.com c. textiles are ineffective in compression to receive one AIA learning unit. d. textiles can close up a building faster than glass-and-metal frame assembly QUESTIONS 7. The unusual program of the World Birding Center demanded a design 1. Design and construction, research and commercial application, are bound process driven by all except which? together by which? a. restoration a. research b. demonstration b. the architect c. nontraditional materials c. building process d. reclamation d. technology 8. Southeast Texas building customs influenced all aspects of the architectural 2. Applied research is the search for which? design except which? a. theories a. buildings face south to block the summer sun b. test results b. deep porches and covered circulation c. isolated inquiries c. buildings clustered to create comfort zones d. commercial applications d. use of engineered wood framing 3. Expanding knowledge to include advances in material science and 9. The corrugated-metal, barrel-vaulted roofs on the Birding Center buildings engineering is known as which? allow for which? a. biomedical engineering a. slow heat gain b. technology transfer b. maximum water collection c. innovation c. grain storage d. exploration d. no need for insulation 4. Gore-Tex products were originally meant to provide solutions for all except 10. Engineered wood framing was used on the Hawk Tower for the following which use? reasons except which? a. protective outerwear a. it has a more natural feel than steel studs b. cable assemblies for electronics b. it eliminates the potential for rust c. medical implants c. it is a better use of forest woods than solid stock d. high-performance fabrics d. it does not use preservatives 136 Architectural Record 02.06
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    • Tech Briefs A Frank Lloyd Wright icon will rely on an energy-efficient HVAC system for better interior comfort • Can architects reverse global warming? One designer thinks so—and says why Unity Temple will use geothermal energy after its first major restoration ARCH I TECTURAL TECHNOLOGY Frank Lloyd Wright’s 1908 Unity of worship, despite the fact Temple in Oak Park, Illinois, is that it’s also a major tourist considered an early Modernist attraction and one of the Back-up well field masterpiece for its compact monu- most significant Wright build- location Ground source well mentality and the striking planar ings in the world.” approximately 300-400 feet deep geometry of its cast-in-place con- (not to scale) crete. Although its interior ranks New HVAC efficiencies 12-inch diameter among the great public spaces of In improving the building’s zone around Horizontal well provides piping routed the 20th century, it proved uncom- thermal comfort, the congre- thermal energy from well field to boiler room fortable almost from the start. An gation wanted to use a advanced but poorly executed heat- system that would reduce ing scheme meant noisy radiators operating costs and have rela- in colder months, and the lack of tively few adverse effects on air-conditioning and proper ventila- the environment. Ultimately, DIAGRAM OF GEOTHERMAL HVAC SYSTEM tion made the building a sauna in the design team developed a the summer. system of geothermal wells, Last year, the church’s drilled to a probable depth of A new geothermal system for Wright’s Unitarian Universalist congregation 300 feet. The design calls for Unity Temple (schematic above) will joined forces with the Unity Temple a closed-loop fluid circulation improve indoor comfort and help slash Restoration Foundation to kick off system that will carry an heating and cooling costs by up to 50 the building’s first major restoration, antifreeze formula of glycol, percent. Wright’s cast-in-place concrete which is slated for completion in ethanol, or another environ- structure broke the mold for religious 2009—the centennial of the build- mentally benign substance. buildings when it was finished in 1908. ing’s dedication. A significant It also has provisions for an component of the $12 million to ice-storage system for pro- gas by the 1970s. During the $15 million project addresses ducing ice overnight to reduce current renovation, a high- the building’s HVAC problems by the required chiller capacity, efficiency natural-gas boiler installing a new ground-source according to Mark Nussbaum, will replace the latter to pro- pump system for heating and cool- principal of ACE. vide backup heat and heat ing. The project will also involve Nussbaum and his team for cooking. repairs to the temple’s reinforced- are still finessing the number The new scheme’s concrete structure, as well as of wells and their exact depth. demand-controlled ventila-I M A G E S : C O U R T E SY U N I T Y T E M P L E R E S TO R AT I O N FO U N DAT I O N improvements to interior woodwork, But he says adding the water tion system, which is lighting, and art-glass windows; a loop and ice-storage capabil- triggered by carbon dioxide new electrical system; and changes ity does not add significantly levels (a proxy measure- for ADA compliance, including the to the cost of the project, par- ment for the number of installation of an elevator. ticularly given the reduced occupants in the building), The project team, consisting of chiller capacity it affords. is tailored to the needs of architect Gunny Harboe of Chicago The new HVAC system both users and the historic and engineers Architectural will also mostly fit within the building fabric. “The system Consulting Engineers (ACE) of Oak existing utility trenches and brings in only enough fresh Park, must balance the needs of the ducts at Unity, lessening the air to meet actual needs, congregation with strict preservation impact on the original structure. common in its time—that was fed and it allows for a porous building,” requirements for the landmarked In a bit of function following his- by a coal-fired steam boiler. But the Nussbaum says. building, which comprises a temple, toric form, the geothermal scheme system performed so poorly that This last point is important meeting hall, and entrance hall. will be augmented by radiant heat by Trinity’s congregation converted the because Unity’s single-glazed “The original users are still occupy- converting Unity’s existing radiator radiators to steam heat in 1910, leaded art glass is porous and ing Unity,” says Harboe, principal of units. When the building opened in according to Nussbaum. The boiler difficult to control thermally. But Gunny Harboe Architects of Chicago. 1909, its radiators were connected was later converted to oil in the measures like storm glazing would “So it must still function as a place to a forced-hot-air system—not early 20th century, and to natural compromise the building’s aesthet- 02.06 Architectural Record 139
    • Tech Briefs work was the overhangs,” he says. Unity’s signature heavy eaves were which was a clear resin,” Harboe says. Wright also applied color rebuilt several years ago. washes directly to the interior’s The temple skylight requires plaster walls; the restoration team ics and could also create moisture ing season, which should compen- significant restoration. “It’s our is making mock-ups to replicate problems, according to the design- sate for the new cooling load. “We intent to go back to the original the original washes. ers. Nussbaum says the overall expect to see a 40 to 50 percent design. There is some of the origi- The restoration team will HVAC design doesn’t require an reduction of utility bills over what a nal fabric, but there’s a question also reevaluate Unity’s previous, airtight building to work efficiently. conventional HVAC system costs,” of how much we can reuse,” says periodic maintenance program to P H OTO G R A P H Y : C O U R T E SY U N I T Y T E M P L E R E S TO R AT I O N FO U N DAT I O N “We don’t have any delicate Nussbaum says. Another benefit of Harboe. see if changes are needed. museum artifacts here,” he says, the geothermal system is that it Many layers of paint coat the One concern for the interior “so we can improve indoor comfort typically provides an 80 percent interior oak woodwork, most of is that the planned changes, suchARCH I TECTURAL TECHNOLOGY without damaging the building’s reduction of source emissions as the new mechanical shell, which is pretty hardy.” compared to systems pow- systems, air handlers, and ACE used software to model ered by fossil fuels, he says. the like, might affect the the structure’s energy performance, original temple’s excellent even though its as-built conditions Making the old new acoustics. The work is being have never been fully documented. again reviewed by an oversight “It’s difficult to do energy modeling Aside from the HVAC team of architects, engi- for a building when we don’t thor- improvements, the rest of neers, and preservationist oughly know its construction,” he the renovation ranges in specialists, who pore over says. “There are some voids in the complexity. Wright’s cast-in- details to mitigate any masonry walls, for instance, but it’s place concrete structure was physical and aesthetic not clear exactly where they are.” innovative for its time, and A photo dated 1925 shows a women’s group that intrusions, and ensure they The models, then, approximated structurally it is still in good may have been part of Unity’s early congregation. are reversible, if necessary. the building’s performance with its shape overall, according to “We want to make sure present equipment and consumption Harboe, despite some cracks and which is original. “Ultimately, we’d we do no harm,” Harboe says. “I levels. Overall, the calculations show spalling. “We’re not anticipating like to remove the paint and go think it’s doable without any major improved efficiency during the heat- replacing rebar,” he says. “The major back to Wright’s original finish, gymnastics.” Ted Smalley Bowen First Impressions Last. Products selected for restroom design do make a difference. Customers notice. In fact, 70% of facility managers surveyed said the restrooms were the most visited area of their building. From Bradley’s new light-powered lavatory system with ndite™ technology to partitions, accessories and plastic lockers, Bradley provides the pieces to create contemporary, long lasting restroom designs. Count on Bradley products to make a great first impression–in your restroom and on your customers. 1-800-BRADLEY www.bradleycorp.com PLUMBING FIXTURES WA S H R O O M A C C E S S O R I E S LENOX™ LOCKERS M I L L S ™ PA R T I T I O N S CIRCLE 52 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • years to figure out how to make Tech Briefs carbon-neutral buildings? ings consume, combined with the temperatures predicted by these MAZRIA: This is based on climate scientific models, you come up with research done by the European a very rapid time frame: reducing A Santa Fe architect calls for carbon-neutral Union. Their scientists have deter- fossil fuel consumption of buildings mined that the maximum amount by 50 percent by the year 2010, buildings in the next quarter century of global warming the planet can and 10 percent more every five In January, Edward worldwide. How did tolerate is 2 degrees Celsius. If years until we achieve carbon- Mazria, AIA, launched you come up with that we continue on our current path, neutral buildings by 2030. the Web site figure? we’ll achieve that rise by about AR: The AIA has endorsed your Architecture 2030 (www. MAZRIA: I developed 2050, and we’d reach a rise of three point of view with a major policy architecture2030.org), a way to look at build- degrees Celsius by 2070. With a statement released in December.ARCH I TECTURAL TECHNOLOGY where he explains the ings as a sector of the temperature rise that high, the con- What steps need to be taken to link between buildings economy, the way the sequences are catastrophic—the achieve these goals? and global warming and industrial and trans- polar ice caps would melt, warmer MAZRIA: As architects, we can calls for all buildings to be carbon- portation sectors are tracked. I ocean temperatures would result in design more energy-efficient build- P H OTO G R A P H Y : C O U R T E SY E D WA R D M A Z R I A neutral by the year 2030. Mazria, defined the building sector to con- severe weather patterns, and we ings and also specify materials that who’s done extensive research on sist of what we, as architects, could lose 25 percent of the species have low embodied energy and are building energy use, talked with control. When we design a build- on the planet. To avert the two made with clean energy sources. RECORD about the urgency of his ing—its orientation, massing, degrees centigrade rise by 2050, Educators and regulators must proposal and how the design com- fenestration—we set in motion its scientists say we need to reduce adopt better energy standards for munity will achieve it. (For the energy consumption pattern. And total worldwide carbon emissions buildings. We’re working with archi- full text of the interview, log on to we also control what materials by that date by 40 to 60 percent tecture schools and all levels of greensource.construction.com.) buildings are made from. In my cal- below 1990 levels, which was the government to make sure this hap- culations, I included the energy use benchmark set by the United pens. Most important, we must ARCHITECTURAL RECORD: Your of buildings as well as the embodied Nations. For buildings, this means also change the building codes in research has determined that energy of construction materials. we must rely less and less on fossil the U.S. It’s a huge effort, yes, but buildings are responsible for half AR: So, how did you determine fuels for energy. When you back- critical to the future of the planet. of all greenhouse gas emissions that designers have less than 25 calculate how much energy build- Interviewed by Deborah Snoonian The V isit our website or World’s order our full-color catalog to see all 31 of our power & data wo wo L i Losing The Sanidoor system is a sensible First... gromments and our other components. to to alternative that everyone will appreciate. C PCS29 Sanidoor easily installs with … Power and Data your existing swinging door Grommet that sits on the setup. You, your employees desk! No holes, no and your customers can exit clamps needed! Ideal for training tables, home health? a restroom, or move from offices, libraries. Flexibility any hallway or room, without and portability. touching the door handle, Comes with one power Sa Sa efficiently reducing the spread outlet, one Cat. 5E data module. Black only. can help! of germs. To find out more and schedule a demonstration, call 800.930.7264 “ F I N E A R C H I T E C T U R A L H A R D W A R E F O R YO U R F I N E F U R N I T U R E ” ® or visit www.sanidoor.com. Doug Mockett & Company, Inc.• Manhattan Beach, CA • 800.523.1269 e. . w w w . m o c k e t t . c o m www.sanidoor.com CIRCLE 54 ON READER SERVICE CARD OR GO CIRCLE 55 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Lighting Louis Vuitton’s expressive lighting relies upon a standardized set of custom-manufactured fixtures T o love beauty is to see the light,” wrote BRIEFS Victor Hugo. In the writer’s beloved Ultimate Lighting Design lack of description is abetted by some Paris, a new Louis Vuitton store is (teNeues, 2006) is a jumbo-size (512 page) cross-section and axonometric illustrations swathed in interior lighting in part monograph surveying the architectural of fixtures, plus a section on custom lumi- inspired by the filtered light and shadows of the lighting projects of the firm L’Observatoire naire designs. Perhaps a photographic streetscapes Hugo prized. Achieving the store’s International. Led by principal designer Hervé compendium of many illuminated building engaging effects was not only a matter of aes- Descottes, the team has an impressive types suits you. The ultimate treatment? thetics, however. Lighting designer George portfolio. It has collaborated with architects Not really. www.teneues-usa.com. Sexton Associates has refined and standardized including Frank Gehry (Walt Disney Concert Transformed by Light: The New a kit-of-parts system of custom fixtures that Hall and Bard College’s Fisher Center for the York Night is an exhibition currently at creates signature lighting in all the brand’s Performing Arts); Diller, Scofidio + Renfro the Museum of the City of New York that international flagships. “Like museum lighting, (Lincoln Center and New York’s High Line); reveals how electrical illumination shaped which requires a high degree of control, retail and OMA/Rem Koolhaas (three museums in the legend and experience of the city. On lighting now demands the same degree of Korea), among many others. Yet this is view through May 7, the show immerses visi- care,” says principal designer George Sexton. largely a look book of glamorizing tors in a series of environments that portray “Lighting is very integrated into the architec- photos. The text explaining the lighting the essential role of architectural lighting in ture, and shouldn’t overwhelm what’s on view.” design of 64 international projects is often the construction of New York life—on the Read on, to learn how this retail space shines in only two or three sentences long (albeit street, at home, in the office, and on the the City of Light. William Weathersby, Jr. translated into five languages). At times, the Rockefeller town. Artifacts range from text is more evocative than informative: To Center Christmas tree bulbs describe a collaboration with Steven Holl, for to a giant neon letter i that once towered example, the book reprints an early lighting over Columbus Circle. The exhibition was concept the firm wrote in free verse(!). The curated and designed by Chicken & Egg Public Projects, and it features lighting CONTENTS installations by 10 firms: 148 Lost House, London Available Light; Brandston Partnership; Adjaye Associates Horton Lees Brogden Lighting; Bouyea & 154 Louis Vuitton, Paris Associates; Jim Conti Lighting Design; Focus George Sexton Associates Lighting: Gallegos Associates; Naomi MillerP H OTO G R A P H Y : © J I M M Y C O H R S S E N 160 Lighting Profile Lighting Design; Tillett Lighting Design; and Iole Alessandrini Tirschwell & Co. The Illuminating Engineering 165 Product Design Society of North America sponsored the Frank Gehry’s Cloud Lamps show, with additional support from major 167 Lighting Products lighting manufacturers. www.mcny.org. 02.06 Architectural Record 147
    • 148 Architectural Record 02.06
    • For London’s Lost House, LIGHTING Adjaye Associates carves a PRO JECTS residence that captures changing qualities of light By William Weathersby, Jr. O ver the past six years as principal of his own firm, David Adjaye has gained a reputation as one of Great Britain’s most promis- ing young architects. His series of conceptually driven houses and apartments strip away artifice to revel in bold Minimalism [record, December 2002, page 126]. Although he has begun to tackle international projects on a larger scale, such as the commission for the Denver Museum of Contemporary Art, Adjaye continues to approach res- idential projects in London as intimate laboratories for experimenting with color, light, and form. With the architectural and lighting design of Lost House, a two- bedroom apartment in the King’s Cross neighborhood, Adjaye has created a mysterious urban retreat that evokes a hidden lair. The residence is a study in the balance between darkness and light, absorption and reflection. A series of light wells, internal courtyards, and skylights har- ness diffused daylight, while dimmable exposed fluorescents set against intensely colored walls provide moody illumination. Commissioned by a fashion designer (who previously studied architecture) and her apparel-executive husband, Lost House overhauls and expands a space that was already converted from industrial to resi-The living room’s black-resin floor reflects daylight from the dential use in the early 1990s. The apartment’s footprint once was theentry courtyard (above). Ceiling slots are lined with fluores- loading dock and courtyard of a warehouse built in the Victorian era andcents. Fluorescents juxtaposed against the colorful interior modernized in the 1930s, and most recently was annexed as part of thewalls frame a courtyard with a view of the main building apartment building. Hemmed in and mostly hidden by the surrounding(below). They also light the Minimalist kitchen (opposite). taller facades of the rest of the complex (hence its “lost” appellation), the existing one-level apartment featured nondescript, white-walled rooms that were mostly windowless except for one elevation’s views onto a windswept garden that remained in shadow much of the day. To expand interior living space while retaining a connection to the outdoors, Adjaye enclosed most of the courtyard but carved out three glass-enclosed interior gardens open to the sky to serve as focal points. The gardens decrease in size as one moves diagonally through the plan. The front entry garden features a wood deck and looks onto the street P H OTO G R A P H Y : © LY N D O N D O U G L A S through a screen of black timber strips fitted into the former truck bay. A central garden features a small pond. The top band of this space’s glass enclosure is edged in mirrors to further reflect daylight and the move- ment of water, visible from within the surrounding rooms. The smallest light court, a pivot point between the kitchen, a bathroom, and one end of the main living space, encloses a small mound of earth and an evergreen tree: a stylized garden. “The three courtyards function as their own sculp- tures, encompassing changing light and weather conditions,” Adjaye says. “I wanted to look at how light comes into an interior as a phenomenon, not through the apertures of standard windows.” 02.06 Architectural Record 149
    • PRO JECTSLIGHTING The media room, a sunken space just off the living room, features shelves, paneling, and platforms that create a sculptural landscape with luminous chartreuse surfaces (above). Fluorescent lighting is both exposed and concealed. In the master bedroom, each wall is painted a slightly different shade of lilac to play with light (right). Rather than a window, the mirrored aperture reflects daylight from a light well in the ceiling, “a periscope effect,” Adjaye says. The open-plan main living space features a shiny black-resin floor and black-stained timber walls. The black surfaces visually expand the space and create a dark void into which daylight filters through the glazing. “The living space’s darkness intensifies the perception of the day- light coming in from the courtyards,” notes Adjaye. Exposed, dimmable fluorescents line the edges of the black walls for ambient light, and frame the glazing. Bordering one side of the space, a step-down, sunken media area is painted chartreuse for a dramatic contrast. Here, both exposed and concealed fluorescents emphasize the pocket space’s vibrant color. In the master bedroom, each wall and the carpeted floor is a slightly different shade of lilac, while the second bedroom achieves a sim- Project: Lost House, London Sources ilar effect in tones of mint green. The gradation of color heightens “the Architect, lighting designer: Adjaye Fluorescents: Philips Lighting perceptual and psychological effects of how light interacts with the archi- Associates—David Adjaye, Glazing: Profile Glass tecture,” Adjaye says. Rather than windows, light wells in the ceiling of principal; Josh Carver, Craig Tan, Moss roof: Erisco Bauder each bedroom allow daylight indoors, which is reflected in horizontal Ixone Altube, Mattus Vallo, mirrors set into apertures with canted edges. Also fitted with exposed project team For more information on this project, fluorescents, the rooms become engaging, three-dimensional color Structural engineer: Price & Myers go to Lighting at fields that are foils for changing conditions of light. ■ Contractor: RJ Parry www.archrecord.com. 150 Architectural Record 02.06
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    • PRO JECTSLIGHTING George Sexton Associates wraps Louis Vuitton with glittering, layered light inspired by Parisian sunsets By Robert Such I n recent years, the French luxury retailer Louis Vuitton has blazed ing the Maison de France, the government tourist office, GSA again col- a trail as a trendsetter in retail architecture, constructing block- laborated with a team of architects who are also LV veterans. The Louis buster stores in Tokyo [record, February 2004, page 143], New Vuitton Architecture Department, headed by David McNulty, oversaw the York, and Hong Kong. Last fall, it unveiled another showstopping project. Carbondale, a firm led by architect Eric Carlson (who previously P H OTO G R A P H Y : © J I M M Y C O H R S S E N venue on the Champs-Elysées in Paris. Sitting across the street from the ran LV’s in-house department), designed the facade alterations, interior site of the original LV shop built in 1914, the new 20,000-square-foot space plan, mesh panels, atrium, and escalator image wall. Peter Marino flagship turns a shopping trip into a promenade along a succession of Associates orchestrated furniture, displays, floors, and wall finishes. dramatic interior terraces. Inspired in part by the dappled light of Parisian sunsets, multilayered illumination by George Sexton Associates Project: Louis Vuitton, Paris Benzoni, principals; Peter Marino (GSA) creates a glittering backdrop for the luxury goods on display. Lighting designer: George Sexton Associates (furniture, finishes) For this project, a renovation of a 1931 building originally hous- Associates—George Sexton, principal Associate architect: Barthelemy- designer Grino Associates Robert Such is a writer and photographer based in Stoke-on-Trent, England. Architects: Carbondale (facade and Design management: Louis Vuitton He frequently writes about international architecture and lighting design. interiors)—Eric Carlson, Cristiano Architecture Department 154 Architectural Record 02.06
    • Mesh-screen partitions(opposite), which incor-porate the company’ssignature diamond-and-leaf motif, are lit withPAR20 metal halides.GSA developed a kit-of-parts system of customfixtures used in everyLV store, including con-cealed fluorescenttubes for shelving andMR16 downlights (leftand above).
    • At the center of thestore, an enclosed70-foot-long escalatorturns conveyance intoart appreciation (left).Twelve panels com-prising 720,000fiber-optic pointsmake up the abstractinstallation Alpha, thework of Americanvideo artist Tim White-Sobieski. Elsewhere,projected videos(above right) and illu-minated mesh screens(above left) enhancecirculation routes.
    • LIGHTING PRO JECTS Carlson conceived of the promenade layout concept, dispensingwith standard enclosed retail floors and instead carving out volumeswithin the existing structure to create multiple platform levels that pro-mote fluid movement. Throughout, brass-mesh panels partially screenwindows and serve as buffers between retail zones. Fitted into a slot alongthe upper edge of each mesh panel, metal halide PAR20 lamps graze thescreens along the windows and blend with daylight for a dappled effect.Where the partitions serve as area dividers, they take on the appearance ofoutsize sparkling bracelets linked together. Inlaid at different points withleather, glass, porcelain, and wood, the illuminated mesh skin evokes alighting effect Carlson observed on a walk through Paris. “When the sunsets on a street axis in the late afternoon,” he says, “the light washes overwrought-iron balustrades, creating a glistening secondary facade.” Along the promenade and down through a spiraling walkway,halogen MR16 spotlights set into ceiling slots provide ambient and accentlighting. Additional MR16s wash plaster walls and graphic panels. Insidedisplay cases, T5 fluorescents crisply illuminate jewelry and accessories. Louis Vuitton also commissioned artworks by light artist JamesTurrell and Danish artist Olafur Eliasson to enrich the shopping experi-ence. And located in the building’s former courtyard, now a six-storyvolume in the center of the store, a dramatic array of 1,900 hanging steelrods refracts light as an impressive canopy. Washing the curved inner sur-face with warm light, AR111 tungsten halogen fixtures are hidden withina ledge set along the lower rim of the semicircular steel curtain. The lighting effects dazzle, but practicality was also a priority.“One challenge was to carefully budget energy usage,” Sexton says. “Theatrium’s complex HVAC requirements limited use of electrical energy forlighting.” To light the dome, for example, the team bypassed metal halidesand instead specified less-expensive, lower-wattage tungsten halogens, butin greater quantities, to generate sparkle and even illumination. ■Sources Tungsten halogens the edges of the rodsCustom fixtures: Equinoxe graze the steel as viewers look over-MR16 lamps: General Electric For more information on this curtain within the head, creating a visualAR111 lamps: Osram project, go to Lighting at atrium (above). The effect Carlson callsLighting controls: Lutron www.archrecord.com. light is reflected in “sparkling stars” (top).
    • GASKINSS E R I E SThat this series bears the name of its creator is a fittingtribute to one of lighting’s recognized visionaries. Indeed, BobGaskins has devoted his career to design, and his mission issingular, uncompromising and clear. Now, a signature collectionto crown a legacy. The Gaskins Series. Luminaires conceivedas equal parts art, architecture and illumination.At 8’, 10’ and 12’ they will define entriesto landmark buildings. Line pedestrianthoroughfares. And everywhere,make a certain statement as original, GARDCO L I G H T I N Gcreative and lasting as their creator’s. www.sitelighting.com CIRCLE 61 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Season, Winter of Architect and multimediaPROFILE Light was a temporary installation in Tacoma artist Iole Alessandrini (opposite, top) in which Alessandrini wrappedLIGHTING explores the interactions two blocks of crum- bling brick foundations with the light from between light and space metal halide fitted with red gels. The artist par- ticipates in her recent laser installation (left). By Robert Such M ultimedia artist Iole Alessandrini tills the imaginative land- scape where light and architecture intersect. Trained as an architect and fine artist in her native Italy and as a lighting designer at the University of Washington, the Seattle resi- dent employs daylight, electric illumination, sound, and video in ephemeral, site-specific installations, often within industrial buildings and urban ruins. Her goal is to enhance and bring attention to neglected built environments, perhaps sparking public debate. “Architecture represents movement, a powerful symbol that redefines space and invents new functions,” she says. “Light is energy, a Capital Hill Library, minimalist medium that interacts and transforms something that where the artist wrapped already exists. My work explores the relationship between the two, and an entry trellis in light, how together they may alter perception.” was a collaboration with Alessandrini often combines lighting with smells and sound- Johnston Architects and tracks of invented language or electronic noise to create works that the Cutler Anderson. public can encounter by accident, such as the one near a Tacoma roadside where she lit crumbling wall fragments. She alternatively transforms empty and inactive sites into disorienting, eerie, or uplifting places. The artist, whose father and grandfather were cabinetmakers, was born in Avezzano, Italy, in 1962. Her family moved to Rome when she was a young child, and she later studied fine art and architecture there. Alessandrini was encouraged by a mentor to apply to graduate architec- ture school at the University of Washington, which also ran a study center in Rome. When her enrollment in Seattle was delayed by university red tape in the early 1990s, she decided to move to London for a year to improve her English and to work for the architectural firm ORMS. Once at the University of Washington, Alessandrini was taken under the wing of lighting design professor Marietta Millet, “whose pas- sion and knowledge about lighting and visual perception stirred my interest,” the artist says. Researching color and optics as a graduate thesis, P H OTO G R A P H Y : © I O L E A L E S S A N D R I N I Alessandrini began to experiment with light, exploring the psychological and perceptual effects of various types of illumination interacting in dif- ferent enclosures. The more she experimented with light, the more she veered away from wanting to practice architecture. Last year, Alessandrini exhibited a laser installation at Seattle’s Center on Contemporary Art. Titled Threshold, it was the next stage in her research into lasers. “I like to fill spaces with smoke and over time simultaneously observe light and space,” she says. Using the camera’s abil- ity to take long exposures, Alessandrini photographed people moving slowly through a sheer wall of green light, producing some strange visual effects, holographlike images built up from traces of laser light striking 160 Architectural Record 02.06
    • Untitled , a 2004 laser installation at Seattle’s Jack Straw Production New Media Gallery, paired sound and lasers to create discrete zones.Building 9 was partof the Horse HeadSculpture Project. Here,the artist installed light,color, and scents in thewindows of a building.
    • PROFILELIGHTING Erikson Sidewalk , a glowing red walk- through installation in the 1997 exhibition Encounters With Space, was mounted at Seattle’s John Erikson Building. Queen Anne Park , a light study for a pro- posed installation in an urban Seattle park, shows how illumination would emanate from canted walls sloping to the ground. each person passing through the vertical partition. its surroundings. When working in a gallery space, she reflects on how Untitled, a blacked-out gallery space crossed by six lasers, her artwork will interact with a conventional arts venue. She builds scale became a sort of “satellite space,” she says, seemingly disconnected from models to test her lighting solutions. Models enable the artist to execute a the outside world. She and other participants moved around “feeling design, and sometimes “are more interesting and revealing than what I had immaterial,” in an enclosed theatrical arena. originally envisioned, sending me off exploring once more,”she says. Another project, Aqua Pura Vista, was an audiovisual work In terms of the practical applications for her research, focusing on memories, constructed inside a brick-and-metal water tower Alessandrini says she believes the work of artists eventually influences in Seattle’s Volunteer Park. Attracted by the sounds of dripping water and mainstream thinking and can lead architects in new directions when gentle chanting, visitors climbed to the top to watch video images of thinking about light and space. She is currently collaborating with land- floating bodies and colorful overlapping projections of arches on a scape architect Bob Murase on a public outdoor project in Seattle’s cylindrical screen. Light from 26 halogen lamps and gels mimicked the Uptown Queen Anne neighborhood. The planned park will have a low- patterns made by the sun falling through the tower’s own arches. sloping central area bounded by trees. For canted, slitlike openings in Funded by grants from both the public and private sectors, the ground, Alessandrini is designing a color-changing LED installation, and sometimes commissioned by architects, Alessandrini’s artistic process drawing life to another empty urban environment and filling it with begins with a site survey, exploring potential links between a structure and sound and light. ■ 162 Architectural Record 02.06
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    • LIGHTING Frank Gehry says his new Cloud Lamps are an homage to the Akari lamps of Isamu Noguchi. The sculptural luminaires are constructed of sheets of translucent polyester clipped together to form irregular shapes around a 100-watt incandescent PRODUCT DESIGN bulb. The units, in three volume sizes, can be grouped vertically (right) or horizontally (below).Gehry on lighting the cloudsInterview By William Weathersby, Jr.F rank Gehry is the master of creating sculptural buildings renowned AR: What about the construction of each fixture? There seems to be quite for their voluptuous curves and light-refracting skins. For his latest a range of configurations. product designs, the architect looked toward the clouds. His new FG: I wanted to create a lighting system that would be flexible. I figuredseries of Cloud Lamps, designed for Vitra, are dramatic lighting fixtures out that if you stamp one shape and use a clip system, you can use onethat seem to float. The fixtures evoke the luminous lamps of Isamu mold for manufacturing the sections that make up each shade. The idea isNoguchi, but with a crinkly, one-of-a-kind twist. Made from a fire-retar- that everyone who buys a lamp can twist and mold and alter the shapedant, tear-resistant skin that looks like paper, each Cloud Lamp seems like until they get what they want. Later, you can alter the shape again to suita found object showcasing countless folds, crimps, bulges, and dents. a new requirement. And you can group the lamp units together to createAvailable as a hanging, standing, floor, or table lamp, the Cloud houses a a chandelier, or build vertical or horizontal fixtures in different sizes. Thesingle incandescent lamp affixed to a transparent polycarbonate ring. In consumer becomes a collaborator in the design.New York recently for the launch of the new lighting line, Gehry sat downwith record to talk about his designs. AR: The lamps are offered in three volumes based on the number of panels that can be clipped together: five, seven, or 10. Do you foresee anyARCHITECTURAL RECORD: For your first lighting line, you have other future options for the Cloud?designed something versatile and ethereal. What was your inspiration? FG: We are experimenting with dyeing the skins in colors: There are redFRANK GEHRY: Vitra asked me to create a lighting fixture, and I wanted and yellow prototype versions now, and one with stripes. We might alsoto experiment with shapes. I’ve always loved Isamu Noguchi’s Akari design another mold to achieve different shapes.lamps. Recently I was working to update my cardboard/paper Easy Edgesfurniture from the early 1970s for the company, so I thought I would do AR: Will you specify any Cloud fixtures in your own upcoming buildings?light fixtures working with craftpaper. I love that material. Some of my FG: I never use my own stuff in my projects. I feel it is unfair to specify forfirst lighting prototypes are on display at Vitra [in the New York show- a client. When they ask for it, we talk about it, but only upon request.room]. I have working versions in my house, too. One prototype wasmade of irregular paper cups used for packing that we stapled together. AR: You’ve also created new versions of the Easy Edges and ExperimentalBut of course paper isn’t practical for mass production, and because of Edges cardboard chairs and tables for Vitra. What’s on the horizon?safety issues, so we translated the lamp’s sheathing into a treated polyester FG: I want to design a line of furniture for children, based on the notionmaterial that is tear-free, flame-resistant, and ages well. of building blocks—simple shapes and splashes of color. ■ 02.06 Architectural Record 165
    • University of California at Merced campusTriangular ColumnStately and prestigious, the Triangular Column combines innovativelight column attributes with high quality design engineering. Fixtureincorporates high pressure die-castings, completely sealed flush safetyglass, choice of refractor systems, and up to 100w HID lamping.Available with SELUX patented MTR refractor for glare free lighting. Light. Ideas. Systems. www.selux.com/usa (800) 735-8927 CIRCLE 64 ON READER SERVICE CARD OR GO CIRCLE 65 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Lighting Products LIGHTING RESOURCES į More clarity than before Resolute has introduced two new additions to the Clarity line of lamp holders designed by Douglas Varey. The Clarity Universal Wall/Ceiling lamp features a shade that rotates 350 degrees and an elbow joint that swivels 190 degrees. The Clarity Swivel Reach lamp also has an elbow joint that swivels 190 degrees and comes in lengths of 16 to 56. The line is also available in three new colors: Aqua (far left), Red/Orange (second from left), and Chartreuse Green (third from right), shown in the pendant style above. Resolute, Seattle. www.resoluteusa.com CIRCLE 200 Ĭ Pearl of a light fixture The Oyster family of luminaires features shallow, semi-elliptical light housings and corresponding curvilinear, winglike top reflectors. Their angle to each other can be increased or decreased to mimic the opening or closing of an oyster shell. Indirectį Starring role light is aimed upward and reflectsAccording to the folks at Serien Lighting, a off of the top reflector to walls androom without an eye-catching luminaire “is like into spaces below at pedestrianan unadorned décolleté on the red carpet at level. The fixtures are constructedCannes.” Made for dramatic impact, the Poppy Lüster chandelier is intended for of lightweight steel and extrudedrestaurants, foyers, or any location with at least 10-foot-high ceilings. Depending on aluminum components in white orhow the 30 Medusa-like arms are arranged around the stainless-steel sphere, the metallic-gray finishes. Luxo,luminaire’s diameter varies from 4 to 5. The mouth-blown-glass shades come in white, Elmsford, N.Y. www.luxous.comred, or black-violet. Serien Lighting, Fort Lauderdale, Fla. www.serien.com CIRCLE 201 CIRCLE 202 Ĭ Get ready to play ball Omer Arbel has recently been named creative director for Bocci, a Vancouver-based manufacturer. Known for his award-winning furnishings, Arbel’s 14 series cast-glass pendants for Bocci will be the designer’s first piece of work to enter large-scale pro- duction. The 14 series is a family of low-voltage lighting fixtures made of articulated seamed-cast-glass spheres with frosted cylin- drical voids, which house halogen light fixtures. Designed to be clustered in groups, the light inter- acts with the bubbles and imperfections in the glass to make a rich halo of light around the piece. The series has already beenLight-emitting-capacitor technology short-listed for severalCeelite’s flat lighting panels use light-emitting-capacitor (LEC) technology, making it pos- awards, including the IFsible to apply lighting to floors, walls, around columns and pillars, and on unconventional Product Design Award inobjects and surfaces indoors and out. The panels are composed of three components: Hannover. Bocci plans toSylvania’s high-quality light emitting phosphors for color and brightness; proprietary pro- add more items by Arbelgrammable Flatline Inverters to control levels of brightness and lifetime; and advanced and other designers to“packaging materials” for lower heat generation that extends the life of the lighting. the collection in the future.Compared to standard electroluminescent products, Ceelite claims its LEC-based light- Bocci, Vancouver.ing offers superior brightness. Ceelite, Lansdale, Pa. www.ceelite.com CIRCLE 203 www.bocci.ca CIRCLE 204For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. 02.06 Architectural Record 167
    • Lighting Products ǡ Crystal clear luxuryRESOURCES The Curios collection, from legendary French glassmaking company Lalique, draws its inspira- tion from the Vizcaya Museum & Gardens in Miami, which were recently damaged as a result of Hurricane Wilma. Crafted in gold and silverLIGHTING plating, the accessories and lighting in the collec- tion are interpreted in the luxe medium of Lalique crystal. The Jaffa grouping includes a vase in crystal with a silver metallic finish, a desk lamp in clear crystal and polished and brushed metal, a ceiling light in clear crystal, a votive holder in clear crystal and brushed metal, and a chandelier (shown) with 5, 10, or 20 lights or a “stemmed” chandelier with 20 lights, both in clear crystal and polished and brushed metal. Lalique, New į Glam lamps York City. www.lalique.com CIRCLE 206 Founded in 1999, Zia-Priven Design features a collection of glamorous pendants, sconces, table and floor lamps, finials, and accessories. Inspired by the current pop- ularity for hand-printed wallpapers, the Wallpaper Collection includes a series of handmade-wallpaper hanging pendants in three sizes. The Dauphine large drum pendant (top left) and Red Mimosa large drum pendant (center) measures 18 x 18 Ǡ Illuminating x 9. The Waterfall Pendant (right) comes with a rectangular or oval shade and 75 sculpture crystal swags. Zia-Priven Design, Brooklyn, N.Y. www.ziapriven.com CIRCLE 205 This outdoor sculpture in Cornellá, Spain, is illuminated by Martin Ǡ Art glass sconces Architectural’s Exterior 600, WPT Design offers a range Exterior 200, and Exterior of sconce fixtures with bril- 200 Long Barrel wash liant art-glass shades. The lights, whose colored ADA-compliant Dessy beams contrast with the series features heavy- sculpture’s stainless steel, gauge stainless steel and steel cuts, and glass plates. curved or flat handcrafted The work, an enormous glass in a single, double, or inclined frame divided by triple candelabra design. an illuminated vertical ele- Shown here is a stainless- ment, is located in a public steel double candelabra park. The illumination with Meadow front glass and Flat Almond back glass shades. The UL-listed fixture schemes are controlled by measures 19 x 11 and uses two 60-watt incandescent bulbs. WTP also offers 3D a Martin PC-based “glass on glass” in animal motifs, ideal for spaces designed for children. WPT Design, LightJockey. Martin Architectural, Woodland Park, Colo. Libertyville, Ill. www.wptdesign.com CIRCLE 207 www.martin-architectural.com CIRCLE 208 ǡ Brightest offering yet An ultra-bright interior/exterior LED flood- light and the world’s brightest underwater LED pool light are two of the latest prod- ucts powered by Lamina Ceramics. Each LED is capable of generating any of 16 million colors, including varying shades of į Know when it’s out, not when it’s fading white. The two offerings are designed Philips has introduced a high-pressure sodium, noncycling Ceramalux lamp. The newest around Lamina’s chip-on-board packaging addition to the Ceramalux line eliminates the unwanted “cycling” that often causes technology, which enables multiple LEDs outdoor lamps to consistently turn off and on at the end of life, making it easier to to be clustered closely together, resulting determine which lamps should be replaced. The new lamp passes the EPA’s TCLP test in a high light output in a very small foot- for nonhazardous waste, and contains up to 90 percent less mercury than a standard print. Lamina Ceramics, Westampton, N.J. Philips Ceramalux lamp. Philips Lighting, Somerset, N.J. www.philips.com CIRCLE 209 www.laminaceramics.com CIRCLE 210 168 Architectural Record 02.06 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.
    • System: Space Sculpting Mesh: Plait Attachment: FrameApplication: Austin Convention Center, Austin, TX Architect: Barnes Gromatzky Kosarek Architects A warm welcome flows from transparent walls. Light blossoms where there was darkness, curvesswim from where there were corners. Excitement, vision, power. Shading, cooling, ventilating. Architectural woven metal systems from Cambridge will comply with your imagination unlike any other material you’ve ever worked with. TOLL FREE 1 866 806 2385 WWW.ARCHITECTURALMESH.COM CIRCLE68 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ A DIVISION OF CAMBRIDGE INTERNATIONAL
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    • Products Flooring: Wood, Resilient & Concrete This month’s flooring roundup includes new offerings in vinyl, wood, bamboo, and concrete. For the latest trends in the flooring industry, check out the Surfaces show, held from 1/31–2/3 in Las Vegas, or the Coverings tile and stone expo, to be held from 4/4–4/7 in Orlando. Rita Catinella OrrellCommercial resilient flooring lines updatedArmstrong Commercial Floors has The Translations line featuresupdated several resilient flooring a classic marble visual in a range ofcollections, including the Timberline, colors and three seaming methods.Standard Excelon, Translations, and Ideal for retail, education, health-Commission Plus product lines. care, and other applications, the Exotic wood visuals have been heterogeneous sheet flooring hasadded to the Timberline group, com- expanded to a palette of 24 calmprising four shades of bamboo and neutrals and bright accents.three variations of wenge, along with Finally, the refreshedfive other options, including rustic Commission Plus collection is idealbeech, walnut, and cherry. The color for spaces that need a residentialpalette for the Standard Excelon VCT look combined with light-commer-collection has been increased by 16 cial performance, such as assisted Translations in Antiquemore colors. Both products meet living. Armstrong has nearly doubled Brown, Cinnamon, andall current ASTM guidelines and the product line, which now includes Creamy White, andfeature a new urethane coating for 30 SKUs, including a wide variety Timberline in Mediumincreased durability. The floors are of decoratives, stones, slates, and Cherry (above). A detailalso FloorScore certified, meaning woods. Armstrong Commercial of one the Timberlinethey meet stringent indoor air quality Floors, Lancaster, Pa. collection’s four newrequirements. www.armstrong.com CIRCLE 211 shades of bamboo (left). Strand bamboo floor offers 30-year warranty The strand bamboo flooring from areas such as stairs. S&W claims S&W International Group, a manu- to be the only company that offers facturer and installer of bamboo decorative items such as medal- flooring, offers a floor that is twice lions, inlays, borders, baseboards, as hard as red oak and 80 percent stair treads, and flush floor vents harder than hard maple. A quick- in bamboo. Two colors of bamboo growing grass, bamboo takes just flooring, along with medallions, five to six years to grow, rather inlays, and borders, were used onFloors that replicate metal, concrete, leather than at least 25 years needed to the stairs shown below. S&W grow a tree. International Group, Elk Grove, Ill.Innovision Flooring’s Artwalk vinyl leather color combinations offer S&W offers three types of www.sw-intl.com CIRCLE 213sheet flooring features metal specifiers a broad selection. In bamboo flooring: traditional, strandeffects that replicate the look of addition to Artwalk, Innovision woven, and click-on glueless.stainless steel and metallic paint, offers five other flooring collections: Traditional and glueless bamboorealistic textured leathers, and Naturelife heterogeneous sheet flooring each feature a 20-yearconcrete visuals for a range of flooring, Deco Stone/Wood vinyl tile warranty, while strand-woven bam-commercial interiors including flooring, Neovia vinyl tile flooring, boo offers a 30-year warranty.retail, education, government, and and Static Pulse ESD (electrostatic Bamboo is available in two colors:hospitality installations. Available discharge) flooring. Innovision natural, which is similar to maple,in 79 x 49 size, with gauges of Flooring, Kenilworth, N.J. and coffee, which is a darker color.126 (metal collection) and .087 www.lgflooring.com CIRCLE 212 created with a high-temperature,(leather and concrete collections), high-pressure treatment.the collection’s 12 contemporary The collection includes concrete Bamboo’s durability makes itmetal visuals and 16 concrete and (left) and metal (right) visuals. a good floor surface for high-trafficFor more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. 02.06 Architectural Record 173
    • Products Ǡ Sound-deadening laminate floor Sonic Floor is a new sound-Flooring: Wood, Resilient &Concrete deadening laminate flooring from Kronopol. Beneath the top surface, Sonic Floor is equipped with an integral underpad made of felt and rubber. Independently field- tested on concrete using ASTM methods for sound- reduction rating, the floor was found to significantly diminish impact noise. The laminate is made with wood from FSC-certified forests, and emits a very low amount of VOC and formaldehyde emissions. Kronopol Laminate Flooring, Ontario. www.kronopol.com CIRCLE 215į Terrazzolike solid vinyl tileMilano and Milano SR solid vinyl tile from Azrock offers an upscale look while providinga slip-resistant option that is easier to maintain while using less water and chemicals.Ideal for heavy-use areas such as school foyers, hotel lobbies, and retail chain stores,the flooring costs less than luxury vinyl tile and terrazzo products and requires only drybuffing, making it easy to maintain. Available in a wide range of colors, as well as slip-resistant options, Milano replicates the look of terrazzo with multidimensional chipsthat give it depth. Tarkett Commercial, Houston. www.tarkett.com CIRCLE 214Ǡ Three ways to safetyAvailable in three finishes, Altro’snew Imprint safety flooring collectionis ideal for high-traffic public areassuch as receptions, corridors, and į Luxe vinyl tile collectioncafés. Inspired by the texture of Mannington Commercial’s new Luxury Vinyl Tile collection, Nature’s Paths, is asnakeskin, Altro Imprint Cobra fea- collection of wood and other natural surface visuals. A tough urethane topcoattures a shimmering textured pattern. ensures superior stain-resistance as well as lower maintenance. A proprietaryAltro Imprint Tectonic incorporates process, NatureForm Optix, combines the latest advances in imaging, texturing,the pure form of a circle overlaying and finishing to create authentic wood- and stone-textured resilient products.the larger pattern, while Imprint Pico Mannington Commercial, Calhoun, Ga. www.mannington.com CIRCLE 216features small, randomly spacedshapes. Altro, Mississauga, Ontario.www.altrofloors.com CIRCLE 217 ǡ Widest color range Preverco has introduced four new stains for its yellow birch hard-Ĭ Monolithic concrete tile options wood floors—Cognac, Bourbon,Maxx Architectural Concrete is integrally colored monolithic tile ideal for commercial Toffee, and Java—in addition toenvironments. Sixteen vibrant colors are available in a range of thicknesses, sizes, and its eight original colors. According shapes, including square, to the manufacturer, this is the rectangular, and “trape- widest variety of colors for yellow zium”-shaped tile (shown birch in the North American hard- on wall), which offers new wood flooring industry. A versatile compositional choices for species of wood that presents an wall and floor applications. alternative to red birch and red oak Tiles come in smooth or hardwood, Preverco’s yellow birch textured finishes. has a similar hardness level to red Architectural Systems, New oak. Preverco Hardwood Flooring, York City. www.archsys- Quebec. www.preverco.com tems.com CIRCLE 218 CIRCLE 219174 Architectural Record 02.06 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service.
    • Bamboo, pebbles and other natural wonders, now available in rubber.Whether you’re looking for the tranquility and balance found in nature or the bold geometry ofa city skyline, you’ll find it in our new rubber tile textures. And like all Johnsonite solutions, theygive you long life, easy maintenance and superior slip-resistance. High-performance solutions forhigh-performance environments. 800.899.8916 www.johnsonite.com CIRCLE 70 ON READER SERVICE CARD OR GO© 2005 Johnsonite, Div. of Duramax, Inc. TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • WinGuard® Impact-Resistant Windows and Doors spell the end of plywood. The end of unsightly shutters and brackets, too.WinGuard maintains the look of your design, and even enhances it with a wide variety of custom shapes and sizes. But as beautiful as these windows and doors are, theyre also tough. WinGuard protects against strong winds and flying debris, meeting the strictest hurricane code requirements in the nation. In fact, even after the extraordinary 2004 hurricane season, with over one million units installed, WinGuard had zero reported impact failures. To learn more, visit Architect View at www.NoMorePlywood.com or call 1-877-WINGUARD CIRCLE 71 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Product BriefsĬ Leggy table collectionFantoni’s Leg collection combines chromed- or satin-finished frames with tops in wood,colored glass, or melamine. The design features a tubular steel frame with a centralbeam available in polished chrome or a satin-finished nickel color. The unusual legshapes run into rounded feet that offer stability. The 1⁄2-thick glass tops come in sixcolors; the melamine-finished tops imitate the appearance of honey maple, ice maple,or wenge; and the veneer-finished tops come in birch, red cherry, or sepia cherry for awarmer look. Luminaire Contract, Miami. www.luminaire.com CIRCLE 220 Product of the Month Cabrio Balcony Roof Window Velux offers a balcony roof window that brings light and air into attics or above-garage bonus rooms. The GDL Cabrio balcony roof window features an exclusive dual-sash operation: The top sash opens for maximum ventilation and also pivots completely inward for easy glass cleaning from inside the room, while the bottom sash opens outward, creating a roof bal- cony. When the balcony roof window is closed, a ventilation flap allows fresh air circulation for heat-collecting upper areas of the home, and floor-to-ceil- ing low-E laminated glass brings daylight into the space. Designed for installation in roof pitches from 35 to 53 degrees, the balcony window canǠ Handy desk accessory been installed for less than the cost of traditional dormers. Optional insectDokuMount helps engineers, archi- screens and sunscreen accessories are available, including manual light-tects, and industrial designers block shades, venetian blinds, pleated shades, and roller shades. Veluxliberate their workspace from over- America, Greenwood, S.C. www.veluxusa.com CIRCLE 221size blueprints and drawings. Designedin conjunction with an ergonomist,DokuMount’s floating radial arm sus-pends large documents above the Ĭ Get pulled in this directiondesk and incorporates a mechanism Idaho-based Rocky Mountain Hardware manufactures high-quality, solid bronzethat grasps and releases up to 15 architectural hardware for doors, cabinets, baths, and kitchens in upscale resorts,sheets of paper without clips. The rotat- restaurants, hotels, corporate offices, and residences. Each Rocky Mountain hardwareable and transparent holder comes in 18 x 24 or 22 piece can be custom madex 34 sizes and six mounting options. Innovative Office to replicate a specialProducts, Easton, Pa. www.lcdarms.com CIRCLE 222 architectural detail of a project, a favorite icon, or a company logo. InspiredĬ Wings of security by the organic texture andSmarter Security Systems introduces the new Fastlane GlassWing speedgate that strength of rope, the solidcombines speed, accuracy, and tailgater detection with glass barriers that recess bronze Lariat Pull featuresinto the pedestals for authorized personnel. Every Fastlane unit has a microproces- numerous hand-applied sor that is programmed patinas (bronze patina with advanced neural net- shown) that mature over work algorithms that allows time to a rich hue. Lariat the system to catch intrud- Pulls are available in 7, ers trying to sneak into a 10, and 16 lengths, in building while ignoring most Silicon or White Bronze, nonhuman objects, such and with seven patina as briefcases, umbrellas, or options. Rocky Mountain other items that trigger Hardware, Hailey, Idaho. alarms in competing sys- www.rockymountainhard- tems. Smarter Security ware.com CIRCLE 224 Systems, Austin, Tex. www.smartersecurity.com CIRCLE 223For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. 02.06 Architectural Record 177
    • Product Briefs ǡ Breaking the mold of brick veneer Introduced at last month’s International Builder’s Show in Orlando, Eldorado Stone’s new line of brick veneer product is handcrafted using precise molds of authentic European International Trade Fair bricks specifically selected for their shape, texture, and color, for Architecture and Technology then finished by hand and tinted by highly trained artisans. Four profiles and 14 colors are currently available, including RomaBrick, a longer profile that is irregular in shape and can vary from 9 to 10 long. The brick shown here is in Bracciano, a warm color blend of subtle reds and burnt blacks, creating an Old World look and feel. A range of accents and accessories has also been added. Eldorado Stone, San Marcos, Calif. www.eldoradostone.com CIRCLE 225 > Lighting Ǡ Glass door system In the international Shown here in a Manhattan auto dealership, the Manet Compact system by Dorma Glas can be used on 3⁄8 and 1⁄2 spotlight. sliding and pivoting tempered glass doors. It features stainless-steel fixtures and components to render a clean, Modern aesthetic for corporate offices, meeting facilities, and other applications. Components that attach directly to Frankfurt am Main offers the the glass surface feature strong, flush-fitting, single-point ideal backdrop for lighting in fixings that deliver an uncluttered appearance and safely transfer all forces acting on the glass to the load-bearing all its facets. Light + Building, structure. The door system features an unconventionally the world’s largest lighting fair, designed visible center pivot that extends the entire length showcases the complete global of the door. For sliding doors, the system offers sliding door rollers that hang from sliding track tubes, guide rails, clamp market, including technical fixings for the track tube, door handles, and locks. Dorma lighting, lamps and compo- Group N.A., Reamstown, Pa. www.dorma.com/usa CIRCLE 226 nents, and decorative lights for the components and decora- tive sectors. Come and meet the market leaders. The Lighting section at Light+Building 2006 is bigger than ever before. Welcome to Frankfurt, the lighting capital of Europe. Messe Frankfurt, Inc. Phone 770.984.8016 Fax 770.984.8023 info@usa.messefrankfurt.com www.light-building.messefrankfurt.com į Racier raceway system Wiremold/Legrand has introduced the next generation of perimeter metal raceway for wire and cable management. Frankfurt am Main Designer Series 4000 steel raceway features a streamlined curved surface and a wider selection of colors. The April 23 – 27, 2006 raceway has also been designed to minimize the visual impact of plugged-in wires and cables through an optional downward-facing configuration for receptacles and data jacks. Ideal for educational buildings and offices, the new raceway is available in standard designer colors, including ivory, gray, black, and bronze. Wiremold/Legrand, West Hartford, Conn. www.wiremold.com CIRCLE 227 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. CIRCLE 72 ON READER SERVICE CARD OR GOTO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • ǡĬ Opening the door for young designers Brandi Berryman and Amanda Hardaway, two architecture students from the University of Kentucky at Lexington, each won a $2,000 scholarship and a trip to last month’s International Builder’s Show as part of Jeld-Wen’s first Student Door Design Contest. Jeld-Wen invited students from around the nation to submit their designs last fall, and along with a jury of design pro- fessionals (including a representative from RECORD), selected three schol- arship winners. Berryman designed her door with the idea of luck in mind and the visual of crossed fin- gers (near left), while Hardaway’s love of architecture inspired her Art Deco motif design (far left). Jonathan Tucker, an architecture student at the University of Colorado at Boulder, received a first place scholarship of $2,000 for his double-door design. Jeld-Wen, Klamath Falls, Ore. www.jeld-wen.com CIRCLE 228Ǡ A step toward the otherside of the looking glassRubinetterie Ritmonio’s latest collec-tion, Bianconiglio (“White Rabbit”), wasinspired by the idea of looking throughthe other side of the looking glass.Designed by Davide Vercelli, the systemnot only features a new tap design, buta new system of managing water in thehome. Bianconiglio places a box insidethe wall to regulate the temperature,which is controlled by a thermostatsensor found on a tactile interface. Onthe plane, a grid of optical sensors determines 40 points with different delivery and temperature conditions, individualizedby luminous dots. The control surface can be placed independently near the fitting or integrated into the surface of amirror, and is turned on by a touch of the finger. The manufacturer hopes the system will help users monitor their wateruse, and in turn, take steps toward conservation. Lacava, Chicago. www.lacava.com CIRCLE 229Ĭ Building a strong foundationLast September, concrete producer Prairie Material Sales, along with chemical admixture supplier DegussaAdmixtures, collaboratively designed a Rheodynamic Self-Consolidating Concrete (SCC) mix that would be used for the concrete foundation of the Trump International Hotel and Tower superstructure in Chicago, making it the largest single SCC pour in North America to date— more than 30 ready-mix trucks from Prairie Material Sales made 600 trips to the Trump Tower site. SCC has a strength of 10,000 psi produced on a continual basis. Expected to be completed in 2009, the building will be 92 stories high and consist of more than 2.6 million gross square feet of building area and more than 180,000 yards of concrete. Degussa Admixtures, Cleveland. www.degussa.com CIRCLE 230For more information, circle item numbers on Reader Service Card or go towww.archrecord.com, under Products, then Reader Service. CIRCLE 73 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Product BriefsĬ Colorful laminationsBold use of color dominated the entries for the 2005 Solutia International DesignAwards, which honor excellence in designing with laminated glass. The architecturewinners include the Woermann Tower (left), a mixed-use retail and residential centerin Gran Canaria, Spain, that features hues of yellow Vanceva interlayers used through-out the facade to provide safety, security, and wind-resistance, and La Casa de Mamá (right), a children’s center in Guadalajara, Spain, surrounded by brilliant blue, green, red, pink, yellow, and orange Vanceva color interlayers. Solutia, St. Louis. www.solutia.com CIRCLE 231 į Contemporary African furnishings Launched at the 2004 Architectural Home Design Show in New York City, Berchuma is a signature furniture line created by Jomo Design. Founded by Jomu Tariku and Henock Kebede, the collection’s name is an Ethiopian word for stool or small chair, and in fact, the line includes a series of stools and small chairs inspired by African furniture design and art. Intended to fill the gap in a marketplace full of Continental European, Classic American, Asian, and Scandinavian designs, the traditional feel of the product line bears a contemporary touch through different methods of crafts- manship. Current designs include the Birth chair (left) made of Ebonized Cherry, and the Duka stool (right), made of Baltic Birch and aluminum, both designed by Adiskidan Ambaye. Berchuma, Alexandria, Va. www.berchuma.com CIRCLE 232 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. American Institute of Architecture Students The design studio lies at the core of architectural of education, has recently made remarkable progress. education. The experiences, habits and patterns found In coordination with our partners (AIA, ACSA, NAAB within the studio make up what we have termed, “studio and NCARB), accredited schools are now expected to culture.” Design studio teaches critical thinking and demonstrate a positive and respectful learning environ- creates an environment where students are taught to ment through the encouragement of the fundamental question all things in order to create better designs. values of optimism, respect, sharing, engagement and The experience of a design studio has also driven innovation between and among the members of its away good people or genuinely and unnecessarily faculty, student body, administration and staff. Nine insulted many in the formal process of learning. The other initiatives are also being implemented that will AIAS believes we can improve the way students are create additional positive changes. educated which will lead to better designers. Educators and professionals are encouraged to partner The efforts of the AIAS to have the entire profession with schools on this issue to ensure they graduate well- of architecture think critically about the studio model rounded, prepared and talented emerging professionals. Visit www.aias.org/studioculture to learn more. STUDIO CULTURE RESPECT. INNOVATION. SHARING. The AIAS is an independent, non-profit, and student-governed organization that is the sole official student voice in the profession. 50 YEARS OF LEADERSHIP: CONNECTING. INTEGRATING. UNITING.
    • There’s an ocean of flooring choices, and then there’s TERRAZZOTerrazzo’s durability, low-maintenance, and excellent lifecyclecosts make it a well-grounded flooring solution—and theinfinite color palette and design possibilities will let yourimagination set sail! Contact us at: 1.800.323.9736 or visit us at: WWW.NTMA.COMJob Name: Jacksonville International Airport Location: Jacksonville, Florida TerrazzoArchitect: Reynolds, Smith & Hill Photographer: David Laudadio A PERFORMING ART CIRCLE 74 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Product Briefs Ǡ Hardware fittings that fit Designed and made in New Zealand by hardware specialists Halliday+Baillie,Ǡ Shady fabrics Ironmonger offers severalShades and Screens is a new collection of dec- new fittings, including aorative textiles created for the shade and locking flush bolt, a stair railprivacy-screen market. Available in 78, 106, or fitting, flush pulls, and mag-118 widths, the fabrics can be railroaded and netic stops. While the squarehung vertically or horizontally. The collection (top) or round magnetic doorincludes seven patterns that are knitted, not stops prevent a door fromwoven, for dimensional stability, which ensures the slamming into the wall with aedges will remain stable even when suspended. sturdy two-point floor installa-Designtex, New York City. www.dtex.com CIRCLE 233 tion, they also keep it held open with a strike plate fixed to the door. The stops are available in ǡ Thermal insulation board a satin pearl finish on aluminum. The extruded polystyrene foam composition The handrail bracket (bottom) found in Energy Star–rated GreenGuard SL features a simple bracket and Insulation Board from Pactiv provides a high R- post to which a wood rail is fixed value (5.0 per inch of thickness), resulting in that can be installed at any angle increased thermal protection in foundation and to match the staircase. It is made basement applications. Available in thicknesses in a satin pearl chrome finish with ranging from 1 to 2, each 2 x 8 or 4 x 8 sec- stainless-steel fasteners and is tion of board is tough enough to withstand the suitable for interior or exterior rigors of the job site, yet is lightweight and easy applications. The Ironmonger, to cut and install. Pactiv, Lake Forest, Ill. Chicago. www.pactiv.com/green-guard CIRCLE 234 www.ironmonger.net CIRCLE 235 For more information, circle item numbers on Reader Service Card or go to www.archrecord.com, under Products, then Reader Service. MN E OUNTAINLUMBER E OW NGINEERING XCELLENCE NGINEERING XCELLENCE DOCK LIFTS EVERY DOCK NEEDS A LIFT AN ADVANCE DOCK LIFT IS THE ONLY EQUIPMENT THAT CAN SERVICE ALL TRUCKS. Full line of dock lifts including: AVOID BACK INJURIES Portable Top Of Ground Pit Mounted INCREASE PRODUCTIVITY We can tailor a dock lift to fit your needs and budget. Antique Oak and Heart Pine Flooring 1-800-843-3625 800.445.2671 mountainlumber.com www.ad vancelift s.com PUT ADVANCE LIFTS ENGINEERING EXPERTISE TO WORK FOR YOU! CIRCLE 75 ON READER SERVICE CARD OR GO CIRCLE 76 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Reserve Your Seat Now! April 25-27, 2006 Kempinski Hotel Beijing, ChinaOver 450 design and construction industry leaders from all over the world attended Endorsed by:the 2004 Global Construction Summit in Beijing. McGraw-Hill Construction and China Ministry of Commerce, ChinaInternational Contractors Association will make the 2006 Global Construction Summit Ministry of Construction, Chinaa must attend event for global design and construction leaders. Dont miss this unique Beijing Municipalityopportunity to network with your peers and learn about new industry trends anddevelopments. Organized by:To learn more about the program and register, visitwww.construction.com/event/BeijingSummit/For sponsorship opportunities, contactMinda Xu at minda_xu@mcgraw-hill.com Supported by: American Institute of Architects American Society of Civil Engineers American Society of Landscape Architects Associated General Contractors of America Construction Industry Institute Construction Users Roundtable New York Building Congress Royal Architectural Institute of Canada U.S. Green Building Council MCHAR0106Find us online at www.construction.com
    • Product Resource: Literature Inlay/parquet flooring Oshkosh Designs has intro- duced a new design manual that provides detailed infor- mation about the company’s full line of wood and stone inlay products and parquet flooring. The manual includes full-color images, technical specifications and product illustrations, and a product reference guide. Oshkosh Designs, Winneconne, Wis. www.oshkoshfloors.com CIRCLE 236Seating catalogBioFit Engineered Products’ new 36-page catalog, Engineered Seating forProductivity, features hundreds ofseating products, including chairs,stools, and footrests for offices, labs,schools, and other applications.Information includes standard featuresof each model plus options such asspecial backrests, seats, armrests, LOOK UPand ergonomic controls. BioFit MODERNFAN.COMEngineered Products, Waterville,Ohio. www.biofit.com CIRCLE 237Free window and door resource guidesJeld-Wen offers three new resource guides that highlight a variety of appropriateJeld-Wen product options for different themes: The Coastal Selections Guidefocuses on hurricane-area requirements and energy-efficient products that willwithstand harsh coastal climate conditions; the Historic Restoration Guide presentswindows and doors that complement classic architectural styles, such as Craftsman,Old World, Victorian, and Colonial; and the Remodeling Guide presents affordable,reliable features such as energy-efficient low-E glass and AuraLast wood. Jeld-WenWindows & Doors, Klamath Falls, Ore. www.jeld-wen.com CIRCLE 238 CIRCLE 78 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Product Resource: On the Web www.novica.com Part of the National Geographic family, Novica.com is an online “world marketplace” that unites customers with more than 2,000 master artisans from around the world. Founded six years ago, the site allows visitors to select from thousands of hand- made gifts, jewelry, and home decor pieces, including furniture, lighting, and area rugs. Each item BIJOUX comes with a biography of the artisan who made it. www.poggenpohl-usa.com Luxury kitchen manufacturer Poggenpohl has redesigned its Web site under a new domain to reflect the brand’s upscale image. The multipage site includes a showroom locator, specific product information, a section on luxury condominium projects featuring Poggenpohl kitchens, a secure online ordering system for catalogs, information on sample displays for sale, and the latest corporate news from the German manufacturer.DAHLIA www.lpcorp.com Louisiana-Pacific has launched a redesigned Web site that showcases its full array of building products under the LP brand. Customized Web pages address the specific needs of a variety of site visi- tors, including building-products distributors, builders, architects, and homeowners. A new inter- active online application allows visitors to design a backyard LP WeatherBest deck using the “Sketch-a-Deck” tool, or to visualize a home in a range of LP siding colors. ORGANZA www.grahambrown.com A selection of Graham & Brown’s wall coverings, borders, digital murals, hand-painted canvases, and decorative accessories are now available directly from the British manufacturer’s Web site. Visitors can shop by designer or wallpaper type, order samples CHARLES LOOMIS, INC. online, and find out about special 425.823.4560 / 800.755.0471 / www.charlesloomis.com co offers. CIRCLE 79 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Good Designis Good Business. The editors of BusinessWeek and Architectural Record invite you to enter 2006 BusinessWeek/Architectural Record Awards Good design is good for business.That’s why this distinguished award recognizes and rewards exceptionally designed work that makes a significantcontribution to the business aspirations of a given company or institution – backed by measurable business results. 2006 Award recipients will be featured in theNovember 2006 issues of BusinessWeek and Architectural Record magazines, read by over 5 million business and design professionals. For more information and an entry form, go to http://archrecord.construction.com/features/bwarAwards/ Entries must be postmarked no later than May 15, 2006.
    • Dates & EventsNew & Upcoming Call 46 0 8 587-270-00 or visitExhibitions www.arkitekturmuseet.se.Dream Machines:The Inventions of R.G. MarteletChicago On-Site: New Architecture in SpainFebruary 3–March 25, 2006 New York CityIn the 1960s, Ron Martelet was one of the February 12–May 1, 2006greatest product designers at Sears, Roebuck Featuring 53 noteworthy architectural projects,and Company, where his futuristic designs were this exhibition focuses on the most recent archi-created with the potential of being realized. His tectural developments in a country that hasdesigns for snowmobiles, jet skis, golf carts, become known in recent years as an importantand power boats will be featured in a special center of international design experimentationexhibition and sale. At ArchiTech Gallery of and excellence. At the Museum of Modern Art.Architectural Art. Call 312/475-1290 or visit Call 212/708-9431 or visit www.moma.org.www.architechgallery.com. Architectural ArtBarns of Western Pennsylvania AtlantaPittsburgh February 13–March 30, 2006February 4–May 28, 2006 Presented by the Foundation for CommunityDespite rampant suburban sprawl in Western Arts, exhibitors include Kenneth von Roenn,Pennsylvania, 29 of the 33 counties in this half of Walter Gordinier, Seranda Vespermann, Susanthe state are classified as rural, and agriculture McCracken, Arthur Stern, Christian Culver,remains a leading industry. Barns are thus an Chrisitina Lihan, Katherine Linn, AIA Georgia’simportant component of this region’s landscape, Best of 2005. Also on view is a niche exhibitionas well as extremely evocative icons in the popu- of the art of landscape design. At Mercerlar mind. This exhibition traces the development University Brown Art Gallery. Call 678/547-6280.of barns in the region from the late 18th centuryto the present through an exploration of theirforms, functions, technological evolution, and role Prairie Skyscraperas barometers of change in the agrarian econ- New Havenomy. At the Heinz Architectural Center. Call February 13–May 5, 2006412/622.3131 or visit www.cmoa.org. A traveling exhibition showcasing Frank Lloyd Wright’s only skyscraper, Price Tower. Now cele- brating its 50th year, the 19-story building inBruno Mathsson: Designer and Bartlesville, Oklahoma, was an exemplar of oneArchitect of Wright’s ideals: a single structure incorporat-Stockholm ing residential, commercial, and public spaces.February 9–August 27, 2006 Today, the building serves as a museum of mod-Bruno Mathsson (1907–88) developed ern art, design, and architecture, housing a hotelModernism in furniture design and architecture, and restaurant as well as gallery spaces. Theaddressing both general and special problems in installation for this exhibition was designed bythe design of furniture, interiors, and buildings. celebrated architect Zaha Hadid. At the YaleThis exhibition focuses on his well-known furni- School of Architecture. Call 203/432-2288 orture designs as well as his lesser-known visit www.architecture.yale.eduarchitectural endeavors, which include a largenumber of single-family dwellings, terracehouses, schools, factories, and exhibition gal- Frank Gehry: Art + Architectureleries. At the Swedish Museum of Architecture. Ontario, Canada CIRCLE 81 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Dates &EventsFebruary 18–May 7, 2006Best known for building curvaceous structures Ongoing Exhibitionsoften covered with titanium, Canadian-born Santiago Calatrava:Gehry has completed the design phase of the Sculpture into ArchitectureArt Gallery of Ontario (AGO) expansion, his first New York Cityproject in Canada. The exhibition features draw- Through March 5, 2006ings, models, and site photographs of four of Many forms of Calatrava’s celebrated buildingsGehry’s projects from the past decade. Along originated in his independent works of art.with working models generated through the This exhibition showcases his sculptures indesign of the AGO’s expansion project, the marble and bronze, as well as drawings,show will explore the impact of Gehry’s buildings and architectural models, including workon the surrounding communities. At the Art related to the new transportation hub he hasGallery of Ontario. Call 416/979-6656 or visit designed for the World Trade Center site.www.ago.net. This is the first exhibition in the U.S. to feature such a large selection of Calatrava’s independ- ent work and to examine it in conjunctionGolconde: The Introduction of with his architecture. At the MetropolitanModernism in India Museum of Art. Call 212/535-7710 or visitChicago www.metmuseum.org.February 21–April 6, 2006Sited on the coastal edge of the Bay of Bengal,Golconde, a dormitory for the Sri Aurobindo The Fashion of Architecture:Ashram in Pondicherry, India, was designed by Constructing the Architecture ofarchitects George Nakashima and Antonin FashionRaymond. Completed in 1942, Golconde was New York Citythe first reinforced, cast-in-place concrete build- Through March 11, 2006ing in India and clearly celebrates the Modernist In this exhibition, visitors are encouraged tocredo: architecture as the manifest union of investigate the contemporary relationshipaesthetics, technology, and social reform. The between fashion and architecture. Studies inexhibition assembles construction drawings, the congruencies between these two dynamicarchitects’ letters and journals, and extensive disciplines will provide a framework for under-photographs of this extraordinary building. At standing current trends in visual culture. Thethe Graham Foundation. Call 312/787 4071 or Fashion of Architecture coincides with Fashionvisit www.grahamfoundation.org. Week and showcases projects by Yeohlee Teng, Hussein Chalayan, Shigeru Ban, and Zaha Hadid. At the Center for Architecture. Call 212-683-Extreme Porosity 0023 or visit www.aiany.org for moreLos Angeles information.February 27–March 24, 2006This exhibition features photographs, drawings, The HOME House Project:and models designed and fabricated at UCLA The Future of Affordable Housingby architecture and urban design students who Atlantaparticipated in a traveling seminar led by fac- Through March 28, 2006ulty member David Erdman. The studio went to A multiyear traveling initiative created by theIstanbul, examining mosques that reflect 15th- Southeastern Center for Contemporary Artand 16th-century innovations in the use of (SECCA) in Winston-Salem, North Carolina.minimal surfaces where extreme lightness, The first component of the project was aporosity, and geometry are evidenced. At UCLA national design competition and exhibitionDepartment of Architecture and Urban Design that showcased innovative solutions for sustain-Perloff Gallery. Call 310/825-2585 or visit able low-to-moderate-income family housingwww.aud.ucla.edu. proposed by more than 440 contest entrants
    • Dates &Eventsfrom around the world. At the Museum of Lecture: Greening the BuiltDesign Atlanta. Call 404/688-2467 or visit Environment in Response to Climatewww.museumofdesign.org for more information. Change Washington, D.C. February 9, 2006Chicago Architecture Foundation Tours The National Building Museum and the KoshlandChicago Science Museum (KSM) present a discussion byThrough March 2006 Tim Beatley, Teresa Heinz Professor ofLed by trained volunteer docents, these Sustainable Communities, University of Virginiaacclaimed tours explore the architecture of the (UVA), and Bruce Hayden, professor and chair,Chicagoland area via bus, boat, train, by walking, department of environmental sciences at UVA,or Segway. For descriptions of all tours, visit about green design concepts for homes andwww.architecture.org/tours. communities. They will examine the relationship of architecture and climate change, and specific GOOD DESIGNSymmetry design features that can diminish the potential impact of climate on the urban environment. At DOESN’T STOP ATLos AngelesThrough May 7, 2006 the National Building Museum. Call 202/272- 2448 or visit www.nbm.org. THE ROOFLINE.In the world of space and time, symmetryderives its meaning from a center, a repetition offorms on mirroring sides of an axis. This exhibi- Symposium: On-Site:tion features works by Los Angeles–based New Architecture in Spaincontemporary artists that use or relate to this New York Cityconcept. At the MAK Center for Art & February 10–11, 2006Architecture L.A., at the Schindler House. Call The Museum of Modern Art and Columbia323/651-1510 or visit www.makcenter.org. University’s Graduate School of Architecture, Planning and Preservation (GSAPP), cosponsor a two-day symposium to accompany the exhibi- A copper chimney pot by European Copper tion. Speakers include Terence Riley, the Philip will take your next project over the top.Lectures, Conferences, and Johnson chief curator of architecture and UL-listed and International Building CodeSymposia design, MoMA; Mark Wigley, dean of studies, Compliant, they are compatible with both masonry and steel fireplace systems.Yale School of Architecture GSAPP; ARCHITECTURAL RECORD contributing edi- Call today at 800-391-0014Spring Lecture Series tor David Cohn, and architects represented in for a dealer near you or visitNew Haven the exhibition. At Columbia University. For more www.jackarnold.com/chimney_pots.htmlFebruary 6–20, 2006 information about the symposium, visitOn February 6, U.K. architect Tony Fretton will www.moma.org/thinkmodern. For information F E AT U R E Sgive the Paul Rudolph Lecture, “Buildings and about reservations, visit www.arch.columbia.edutheir Territories.” On February 9, The Brendan – Fine stainless steel and copperGill Lecture will be given by Wendy Steiner. – UL Listed, IBC compliant, patentedHer talk is titled “What Is Aesthetic D.C. Builds: Extending Modernism in – For masonry or metal fireplacesConservatism?” On February 13, Amanda the Monumental City – Existing or new construction chimneysBurden, head of the New York City Planning Washington, D.C. – Withstands hurricanes, seismic shiftsCommission, will give the annual Eero February 13, 2006 – Keeps out pests and waterSaarinen Lecture, entitled “Shaping the City: Usually demonized as a failed 1960s urban – Improves draft, reduces sparkA Strategic Blueprint for New York’s Future.” renewal effort, Washington’s Southwest neigh- – Lightweight, easy to install On February 20, Norway-based architect Craig borhood has an unappreciated fabric of – Six styles availableDykers will talk about the unique work Modernist residential architecture. Last fall, the ethic and vision of his firm, Snøhetta. At Yale Anacostia Waterfront Corporation (AWC) spon-School of Architecture Art and Architecture sored a design studio at the Harvard GraduateBuilding. Call 203/432-2288, or visit School of Design to investigate the extensionwww.architecture.yale.edu and redefinition of this architectural legacy in CIRCLE 82 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • Dates &Events Architecture, Ohio State University will give individual presentations in honor and Industrial Lighting Cleveland of the architect and curator, followed February 22–24, 2006 by a screening of Merrill Brockway’s April 19–21, 2006rebuilding the Southwest Tomasetti founding principal, former 1965 film This Is Philip Johnson and a June 28–30, 2006Waterfront. Inspired by this studio cochairman, and now consultant, discussion. At the Museum of Modern Designed for newcomers to thework, a panel of leading architects and Richard L. Tomasetti, Hon. AIA, Art. Call 212/708-9400 or visit lighting industry, this conferencewill discuss the role of Modernism in chairman and founding principal, www.moma.org provides basic product and applica-a city largely characterized by mon- will explore the technical demands tion training for commercial andumental Classicism and historic involved in creating large, complex industrial lighting. This programpatterns of urbanism. At the buildings, including Petronas Philip Johnson and the contains lectures and full-scaleNational Building Museum. Call Towers, in Malaysia; Taipei 101 (cur- Constancy of Change lighting demonstrations that create202/272-2448 or visit rently the world’s tallest building), in New Haven an interesting, fast-paced, compre-www.nbm.org. Taiwan; Soldier Field, in Chicago; February 17–18, 2006 hensive lighting conference. Topics and the Modern Art Museum of The Museum of Modern Art and the include: lighting terminology; light- Fort Worth. At the National School of Architecture at Yale ing measurements and color; anLecture: Engineering Large- Building. Call 202/272-2448 or University cosponsor a symposium overview of major light-source fam-Scale Structures visit www.nbm.org. on the architect Philip Johnson ilies and systems; and applicationWashington, D.C. (1906–2005). Architects and schol- modules for retail, office, industrial,February 14, 2006 ars analyze Johnson’s work as an and outdoor lighting. At theFor three decades, Thornton- Philip Johnson: Portraits architect, teacher, and curator. At Lighting Institute. For more infor-Tomasetti Group has devised New York City Yale University. This symposium is mation, call 800/255-1200 or visitcreative engineering solutions for February 16, 2006 free, but reservations must be made www.gelighting.com.some of the world’s iconic struc- Terence Riley, the Philip Johnson chief by February 6. Call 203/432-2889.tures, from skyscrapers and curator of architecture and design,stadiums to museums and airports. MoMA, and Jeffrey Kipnis, professor of The Making of Modern NewCharles H. Thornton, Thornton- architecture, Knowlton School of Fundamentals of Commercial York: Puerto Rican Architects TURNING GREY CONCRETE GREEN These microscopic, glassy spheres are fly ash – and at Headwaters Resources, Inc. we sell millions of tons of them every year. Produced by burning coal at electric power plants, fly ash might be destined for disposal in a landfill. But when added to concrete, fly ash makes concrete easier to work with, stronger and more durable. Fly ash also improves the environmental performance of concrete. Mining and manufacturing of other raw materials can be reduced. Greenhouse gas emissions also decrease. In fact, using a ton of fly ash can save almost a ton of CO2 emissions from being introduced into the atmosphere. In addition to concrete, fly ash is used in mortars, stuccos and a variety of other building materials. That’s an improvement worth specifying. Formerly ISG Resources. Inc. Contact Headwaters Resources for free technical 3-form.com | 800.726.0126 literature and information on how fly ash use benefits the environment. 1.888.236.6236 www.flyash.com Member AIA/CES Registered Provider CIRCLE 83 ON READER SERVICE CARD OR GO CIRCLE 84 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Dates &Events wide range of topics with leading architects, engineers, designers, landmark neighborhood close to downtown Chicago that has experi- product developers, builders, enced economic hardship and manufacturers, policy makers, urban blight over the past 30 years.and Their Contributions to they could mitigate damage from planners, educators, utility Call 773/848-7368 or visitNew York future storms. A panel of landscape executives, and green marketers. www.chicagoarchitectureclub.org.New York City architects and planners will examine At Boston’s Seaport WorldFebruary 23, 2006 the role of these critical compo- Trade Center. VisitThe symposium features architects of nents in a healthy ecosystem and www.buildingenergy.nesea.org. BSA’s 2006 Research GrantsPuerto Rican heritage who practice discuss the vital need for restoration in Architecture Programin New York City. At Hunter College of the wetlands and other issues. Application Deadline: Februarymain auditorium. Call 212/772-5695 At the National Building Museum. 10, 2006or visit www.centropr.org. Call 202/272-2448 or visit Competitions Boston Society of Architects (BSA) www.nbm.org. 2006 Burnham Prize Design is offering $75,000 in research Competition grants to U.S. building industrySymposium: The Gulf Coast: Preregistration Deadline: professionals. Individuals andRestoring Wetlands and Building Energy Conference February 10, 2006 teams (architects, academics,Plant Life and Trade Show The Burnham Prize is an interna- designers, product developers, stu-Washington, D.C. Boston tional biennial design competition dents, etc.) in the national designFebruary 23, 2006 March 7–9, 2006 sponsored by the Chicago and construction industry seekingHurricanes Katrina and Rita not The Northeast’s premier Architectural Club, open to young support for an original researchonly destroyed countless buildings conference and trade show for architects and architectural gradu- project are encouraged to submitalong the Gulf Coast, but also killed renewable-energy and green-build- ates, to make an extended visit to applications. With a focus onplant life and devastated the already ing professionals and others eager the American Academy in Rome. design as research, this programcompromised coastal wetlands. The to learn about green-building tech- This year, the Burnham Prize is encourages inquiry not only intoloss of these natural elements is niques and products. Featuring seeking ideas regarding the neigh- specific research topics but alsodoubly tragic, because if still intact, in-depth workshops on a borhood of North Lawndale, a into how design itself constitutes 4,554 architects 2,236 interior designers 82,351 products 168,920 images your source for the best in building + design CIRCLE 85 ON READER SERVICE CARD OR GO CIRCLE 86 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • The Older Your Dates &EventsMaple Sports Floor Gets, the Smarter You Look. research. Call 617-951-1433, x crossroads of widely divergent social 227, or visit www.architects.org. groups and communities, the Boston Center for the Arts’ campus includes theaters, art galleries,Over its long lifetime, MFMA maple sports flooring 2006 AIA San Francisco artist studios, the Boston Ballet,can cost you up to 40% less overall versus synthetic.* Design Awards Program restaurants, residences, and theThat’s value. But maple’s true value goes well beyond Deadline: February 13, 2006 iconic Cyclorama. The competitionlongevity and lower cost. It offers unrivaled aesthetic Award categories are Excellence in seeks innovative ways to spatializebeauty, and unmatched playability too. And unlike Architecture, Excellence in Interior the BCA’s mission by bringing thesynthetics, maple is easily and economically restored. Architecture, Energy and inside out and by weaving arts intoSo every year your maple sports floor outperforms Sustainability, Unbuilt Design, Urban the urban and social fabric of thissynthetics, you’ll know you made the brightest Design, and Special Achievement. Call Boston neighborhood. Visitchoice possible. *Ducker Research Co. Inc. 415/362-7397 or visit www.aiasf.org. www.architects.org. In Pursuit of Housing New Life for the Big Easy Visit our redesigned Web site at: Registration Deadline: February New Orleans www.maplefloor.org 17, 2006 Deadline: March 1, 2006 The Boston Society of Architects An international competition for (BSA) is administrating a design new housing in New Orleans in competition that encourages stu- the wake of Hurricane Katrina’s dents and recent graduates to devastation to the Crescent City. address the complex issues Participants in the competition involved in designing housing for will design housing for an actual young people with limited resources. block in the city. Programmatic Visit www.architects.org. elements include single-family housing, multifamily housing, and mixed-use urban planning. Visit 4 Corners Design www.architecturalrecord.com. Competition Registration Deadline: February 24, 2006 Eco: Dwell House for an Submission Deadline: March 1, Ecologist—A Design Ideas 2006 Competition Submit a design for a pedestrian Registration Deadline: March 1, connectivity in downtown Naples, 2006 Florida. In addition to the jury’s The AIA challenges architects and judging process, community mem- students everywhere to propose a bers will vote for the “People’s unique dwelling that combines Choice Award.” More information is integrity and inspiration. The program available at www.aiaflasw.org. is a live/work dwelling for an ecologist in residence at the U.S. Fish and Inside:Out—Weaving Arts Wildlife Service (FWS). The site is the 60 Revere Drive, Suite 500, Northbrook, IL 60062 into the Urban Fabric grounds of the National Conservation phone: 847-480-9138 | e-mail: mfma@maplefloor.org Registration Deadline: February Training Center in Shepherdstown, 27, 2006 West Virginia. Visit www.aia.org/cod. The Boston Center for the Arts is M F SM M A sponsoring a two-stage, national Maple Flooring Manufacturers Association, Inc. open design competition for its AIA St. Louis Annual© 2005 Maple Flooring Manufacturers Association, Inc. All Rights Reserved public open spaces in Boston’s Architectural Photography South End neighborhood. Set at the Competition CIRCLE 87 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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    • Dates &Events A two-phase, open competition with the objective of honoring Dream House with HGTV Deadline: June 2006 Chicago’s commitment to High Noon Productions announces sustainability and community the continued production of theDeadline: March 15, 2006 or visit www.cement.org. development. The first phase HGTV series, Dream House, andEntries must be submitted in slide solicits design schemes for an seeks architects who are inter-format and may be in either color or outdoor community space. Visit ested in appearing on the show. Toblack-and-white format. Actively Edge as Center: Envisioning www.urban-space.org. be eligible, you must have brokenregistered architects in the U.S., the Post-Industrial ground by the first half of 2006members of AIA or AIAS are eligible Landscape and be willing to have camerato enter. The top 14 images will be Registration Deadline: March 31, 2006 Benjamin Moore HUE crews follow your home’s construc-on display at the AIA National 2006 Awards tion from start to finish. InterestedConvention in Los Angeles. For infor- The Boston Society of Architects Submissions Due: May 19, 2006 families, contractors, or architectsmation, call 314/621-3484 or visit (BSA) announced recently that the Presented by the Benjamin Moore may call 303/ 712-3184 or visitwww.aia-stlouis.org. city of Somerville, Massachusetts, company to honor architects and www.highnoonentertainment.com. will join with the BSA to hold an interior designers for exemplary international urban design ideas use of color in both residential10th Biennial Bridge Awards competition for the industrial and contract projects, the awardsCompetition Brickbottom area in East Somerville. recognize design professionalsDeadline: March 31, 2006 A competition prize fund of $35,000 who incorporate color in innovativePortland Cement Association (PCA) will be awarded to the top three and imaginative ways—throughis seeking nominations for its 10th entrants. For details, visit the use of interior and exteriorbiennial Bridge Awards Competition. www.architects.org/somerville. paints, building materials, textiles E-mail event and competitionAll types of bridges in which and other surfaces, plus design information two months before the basic structural system is elements and furnishings. Call event or submission deadline to concrete—highway, railway, pedes- Urban-Open 212/966-3759, x 233 or visit elisabeth_broome@mcgraw-trian—are eligible. Call 847/972-9100 Deadline: April 15, 2006 www.benjaminmoore.com. hill.com. American Institute of Architecture Students Life safety, dignity and comfort are the foundation Through its 130 chapters, the AIAS is implementing of and the reason for Freedom by Design™. Freedom by a program that involves students resolving accessibility Design is an AIAS-led program that utilizes the talents issues, and simultaneously provides the students with of architecture students in service to their communities the “real world” experience of working with a client, by helping individuals with physical challenges. Minor mentorship from a local architect, and an understanding modifications to the homes allow individuals to live of the practical impact of architecture and design. safely, comfortably and with dignity by addressing their You are invited to get involved. The AIAS is seeking struggle with everyday tasks such as getting in and out of mentors and supporters to help us grow this important showers, ascending stairs, or egress to the home itself. program. Please help us help others. To learn more, visit www.aias.org/freedom. FREEDOM BY DESIGN ™ SAFETY. DIGNITY. COMFORT. The AIAS is an independent, non-profit, and student-governed organization that is the sole official student voice in the profession. 50 YEARS OF LEADERSHIP: CONNECTING. INTEGRATING. UNITING.
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    • TO SOME, IT’S A WALL.Find us online at www.construction.com
    • TO YOU, A CANVAS. Because there’s so much more that goes into specifying a construction product, there’s so much more going into the McGraw-Hill Construction Network for products coming in 2006. Built on McGraw-Hill Construction Sweets’ 100-year history of connecting you to product information and intelligence, it’s designed to help you search, specify and document products with more convenience and confidence than ever before. Deeper content. Wider choices. Faster searches. Higher productivity. Projects. Applications. Green products. Trends. Ideas. A better online specification experience than any single product web site or search engine listing can deliver alone. At your fingertips. One connecting point. So you can get what you need to realize your vision. Win a Trip to Venice or a Digital Camera Go to products.construction.com and take our online demo. While you are there, enter to win a trip for two to see Venice at its best during the 2006 bi-annual architectural event and our monthly digital camera giveaways. (No purchase necessary. See website for official contest rules.) Go to products.construction.com NO PURCHASE NECESSARY. A PURCHASE WILL NOT IMPROVE YOUR CHANCES OF WINNING. TO ENTER: go to products.construction.com and fill in the drawing entry form. One entry per person per day. There will be 1 Grand Prize trip for 2 to the 2006 Venice Biennale awarded. Entries for the Venice Biennale trip must be received after November 8, 2005 and no later than July 14, 2006. The Venice Biennale Grand prize winner will be selected on July 15, 2006. The Venice Biennale trip must be taken between September 15, 2006 to November 30, 2006. Approx. retail value of trip: $10,000. Monthly drawings will be held for Sony Cyber-shot digital cameras. Entries for the monthly camera drawings must be received after November 8, 2005 and no later than December 30, 2006. There will be 14 prizes awarded. Camera drawings will take place on the 30th of each month beginning November 8, 2005 and ending December 30, 2006. Approximate retail value of prize: $350 per camera. Total Award Retail value: $15,000. Employees of The McGraw-Hill Companies, Inc. and their immediate family members and their advertising agencies are not eligible. All federal, state and/or local regulations apply. Void where prohibited by law. MCGH reserves the right to substitute a prize of equal or comparable value if any prize becomes unavailable. For the complete official rules, contact Deborah Smikle-Davis, Director of Marketing Communications, McGraw-Hill Construction, 2 Penn Plaza, 9th floor, NY, NY 10121-2298 or visit www.products.construction.com. MARNP61
    • TO ADVERTISE: Contact Diane SoisterT: (212) 904-2021 / F: (212) 904-2074Diane_Soister@McGraw-Hill.com CLASSIFIED ADVERTISING POS ITIONS AVAILABLE . PRINCIPAL OR ASSOCIATE PRINCIPAL HEALTHCARE ARCHITECTURE Christner, Inc., a St. Louis-based, award-winning healthcare architecture firm, seeks an individual with an established reputation to join their staff as a Principal or Associate Principal. The ideal candidate for this position will be a proven thought-leader. A record of leading-edge publications and/or confer- ence presentations a plus. Should possess the ability to direct ideas and people within a collaborative environment. A Master’s of Architecture degree or ACHA certification highly preferred. Interested can- didates should apply to: Mark Prosperi, Senior Consultant, Cejka Search at 800-678-7858, x63490; fax 314-863-3631; e-mail mprosperi@cejkasearch. com; www.cejkasearch.com. ID#25123A96. ARCHITECTS - ALL LEVELS / ALL SPECIALTIES JR Walters Resources, Inc. specializing in the placement of technical professionals in the A&E field. Openings nationwide. Address: P.O. Box 617, St. Joseph, MI 49085 Tel: 269-925-3940 E-mail: jrwawa@jrwalters.com Visit our web site at www. jrwalters.com BUS INESS OPPORTUN ITY CONFIDENTIAL CLEARINGHOUSE FOR MERGERS & ACQUISITIONS Strogoff Consulting offers confidential introductions between prospective buyers and sellers. As a strategic advisor to firms throughout the U.S., Michael Strogoff, AIA, has an extensive network of contacts and an insider’s knowledge of the architectural industry. Firms are introduced to each other only if there is a strong strategic and cultural fit. Contact Michael Strogoff, AIA, at 866.272.4364 or visit www.StrogoffConsulting.com. All discussions held in SENIOR ARCHITECTURAL DESIGNER the strictest confidence. ATLANTA, GA Analysis, design and implementation of architectural plans for high-end exterior and interior residential environments incorporating residential construction methods and techniques. Responsible for hand drawing and sketching custom plans, elevations, sec- Did tions and details, including rendering of color and black and white perspectives. Will utilize AutoCAD you to prepare specifications for standard elements of projects, such as plumbing and electrical layout. know... Participate in construction estimation and coordi- nation of project to ensure custom plan and design objectives are met. Must have a Bachelor’s degree or t h a t yo u c a n re c e ive c o n t i n u i n g foreign degree equivalent in Architecture, Environ- e d u c a t i o n c re d i t s b y re a d i n g mental Design or a related field plus 3 years of experience in the job offered or 3 years of experience in an architectural design position with same duties as the job offered. Experience may have been obtained concurrently and must include 3 years of experience with AutoCAD. Must present acceptable residential architectural design portfolio, which See the table of contents for details. includes hand sketches and AutoCAD design. Must have legal authority to work in U.S. Resume to: C. Hayes, Harrison Design Associates, (Ref: SAD) 3198 Cains Hill Place, NW, Atlanta, GA 30305 DRAFTER, SENIOR Needed for architectural co., Paso Robles, CA. Under direct supervision of licensed Architect, completes working/presentation drawings, design sketches, dia- archrecord.construction.com grams, schedules & computer drafted documents. Drafts arch. plans, interior & exterior, organize lay- out, schematics etc. Computer use, CAD, various arch. design tool programs. F/T. Fax resume to: Phillips Metsch Sweeney Moore Architects 805-227- 0712 EOE.208 Architectural Record 02.06
    • Great gifts for great tastes. The AIA Store is your comprehensive source for professional books, CDs, DVDs, notecards, gifts, AIA logo items, and much more. Visit the AIA Store to find a diverse collection that covers a wide range of subjects and interests. www.aia.org/store 800-242-3837 A. Gehry Draws, edited by Mark RappoltA. D. and Robert Violette. The drawings, illustrations, and text in Gehry Draws definitively place drawing at the heart of Frank Gehry’s creative process. Member price: $45.00 B. The Caffe Macchiato glass, suitable for hot or cold beverages, is also dishwasher safe. Member price: $16.20 C. Call of the Mall, by Paco Underhill. A most amusing and unique view of the mall culture. A fascinating look at its customers, retailers, and mall developers. E. Member price: $22.45 D. Zinc magnets by GeoMagnetic Shapes. These simple and elegant super-strong magnets will fit into any environment.B. Member price: $12.56 E. Mississippi Floods: Designing a Shifting Landscape, by Anuradha Mathur and Dilip da Cunha. The design of the Mississippi and how it should proceed has long been a subject of controversy. What is missing from the discussion, say the authors of this extraordinary book, is an understanding of the representations of the Mississippi River. Member price: $40.50C. Visit us at booth #1379 for the AIA 2006 National Convention and Design Exposition, June 8–10 at the Los Angeles Convention Center. Enjoy author book signings, special convention discounts, drawings, and more.Visit our Web site at www.aia.org/store or call 800-242-3837 (option 4) to place an order.
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    • ADVERTISERS INDEX continued SALES OFFICES & CONTACTS142 55 Sanidoor EXECUTIVE OFFICES WEST ( AZ, CA, CO, NM, NV) sanidoor.com James H. McGraw, IV, Group Publisher Bill Hague (212) 904-4048 Fax: (212) 904-3695 (253) 858-7575 Fax: (253) 858-7576128 47 Schott Corporation jay_mcgraw@mcgraw-hill.com (760) 340-5575 Fax: (760) 340-0439 us.schott.com bill_hague@mcgraw-hill.com Laura Viscusi, VP, Associate Publisher198 91 Seiho International Inc (212) 904-2518 Fax: (212) 904-2791 WEST (ID, MT, OR, S.CA, UT, WA, WY) seiho.com lviscusi@mcgraw-hill.com Bill Madden Assistant: Pina Del Genio (503) 224-3799 Fax: (503) 224-3899166 64 Selux (212) 904-6791 Fax: (212) 904-2791 bill_madden@mcgraw-hill.com selux.com/usa pina_delgenio@mcgraw-hill.com INTERNATIONAL67 40 Y Simpson Strong-Tie Company Inc ONLINE SALES Glen Wither (Canada) simpsonstrongwall.com (888) 836-6623 Fax: (866) 212-2213 Paul Cannella, Director15 9 Y Sloan Valve Company (312) 233-7499 Fax: (312) 233-7490 glen_wither@mcgraw-hill.com paul_cannella@mcgraw-hill.com Martin Drueke (Germany)137 50 St. Paul Travelers (49) 202-27169-12 Fax: (49) 202-27169-20 stpaultravlers.com CLASSIFIED SALES drueke@intermediapartners.de Diane Soister59 38 Y Tarkett (212) 904-2021 Fax: (212) 904-2074 Ferruccio Silvera (Italy) tarkett.com diane_soister@mcgraw-hill.com (39) 022-846716 Fax: (39) 022-893849 ferruccio@silvera.it5 4 Technical Glass Products NORTHEAST / MID-ATLANTIC fireglass.com Katsuhiro Ishii (Japan) Janet Kennedy (CT, MA, ME, NH, NJ, NY, PA, RI, VT) (03) 5691-3335 Fax: (03) 5691-3336 (212) 904-3603 Fax: (212) 904-2791187 80 Tile of Spain amskatsu@dream.com janet_kennedy@mcgraw-hill.com spaintiles.info Young-Seoh Chin (Korea) Joe Sosnowski (NJ, PA)69 42 Vistawall Architectural Products (822) 481-3411/3 Fax: (822) 481-3414 (610) 278-7829 Fax: (610) 278-0936 vistawall.com joseph_sosnowski@mcgraw-hill.com PRODUCT NEWS SPOTLIGHTS / POSTCARD SERVICE Deidre Allen172 69 Viva Ceramica MIDWEST (212) 904-2010 Fax: (609) 426-7136 cerviva.it deidre_allen@mcgraw-hill.com Mike Gilbert (AR, IL, IA, MN, MO, OH, W.PA, WV)54 36 VT Industries (312) 233-7401 Fax: (312) 233-7403 SUBSCRIBER SERVICE vtindustries.com mike_gilbert@mcgraw-hill.com (888) 867-6395 (USA only) Lisa Nelson (IL, IN, KS, MI, ND, NE, OK, SD, TX, WI) (609) 426-7046 Fax: (609) 426-708722-23 12 Vulcraft, A Division of Nucor Corp p64cs@mcgraw-hill.com nucor.com (312) 233-7402 Fax: (312) 233-7403 lisa_nelson@mcgraw-hill.com BACK ISSUES169 67 WAC Lighting (212) 904-4635 SOUTHEAST / MID-ATLANTIC phyllis_moody@mcgraw-hill.com waclighting.com Susan Shepherd REPRINT MANAGEMENT SERVICES53 35 Yamaha (404) 843-4770 Fax: (404) 252-4056 (800) 360-5549 x129 yamahaca.com sshepherd@mcgraw-hill.com architecturalrecord@reprintbuyer.com © Al Teufen Promote Your Products Order Architectural Record Reprints and Photocopy Permissions Rakks wall-mounted shelving at Sweet & Associates Modern Furnishings, Cleveland, OH Fixture Design: Christopher Hixson R E PR I NTS B L AC K & W H I T E P H OTO C O P I E S * Custom Reprints: Minimum order 1,000 Contact: Copyright Clearance Center S U P PORT I NG MO D E R N DE S I G N Contact: Michael Shober Phone: 978-750-8400 Phone: 800-360-5549 ext.129 Fax: 978-750-4470 We play a supporting role in state-of-the-art Email: architecturalrecord@reprintbuyer.com Web address: www.copyright.com interiors from coast to coast. With strong, * Please note that the maximum number of copies granted for commercial use is 500. Rakks Bracket Rakks on Pole innovative shelving systems that meet the Schools may obtain permission to make up to 1,000 copies for classroom use. demands of the world’s top designers.Rakks. New and exciting solutions for shelving.Visit us at www.rakks.com, or call for a catalog. U niv e r s a l B r a c k e t Aria Bracket ® In supporting roles everywhere Find us online at www.construction.com Rangine Corporation | 114 Union Street | Millis, MA 02054 | 800-826-6006 | www.rakks.com CIRCLE 96 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
    • AR Past and PresentFrom corporate ad to chic caravansary IRaymond Hood’s American Radiator building, n 1924, Raymond Hood, famed for the Chicago Tribune Tower (1922), shocked the New York architec-in New York City, published in ARCHITECTURAL tural community by designing a skyscraper that was already black—without benefit of decades of cityRECORD in May 1924 (below), was converted in soot. Working with Andre Fouilhoux, Hood faced the 26-story American Radiator Building in black brick2001 to the Bryant Park Hotel (above two). fired in manganese, and trimmed it with gilded terra-cotta to enliven the crenellated top. As Harvey Wiley Corbett, an architect who would soon join Hood on the team designing Rockefeller Center, wrote in RECORD that May, “As an advertisement, I consider the building a magnificent success.” Years went by, and the P H OTO G R A P H Y : © D E N N I S G I L B E R T / V I E W P I CT U R E S tower, renamed the American Standard Building, was designated a New York City landmark in 1974. Then in 2001, it was renovated by David Chipperfield Architects for the Bryant Park Hotel. Conceived by devel- oper Philip Pilevsky as a boutique hotel with 129 rooms, the structure is ideally suited for the fashion crowd: Not only is the garment center close at hand, but the hotel faces Bryant Park, the site of Fashion Week’s twice-a-year tent shows. In addition to restoring the exterior and designing the pared-down Modern guest rooms, the London-based Chipperfield office converted the former product showrooms on the main floor into a restaurant (above left) and a red-paneled reception area, with bar and screening room downstairs. A showroom, added by Fouilhoux in 1937, has been spiffed up for the Katharine Gibbs School (above right, bottom center of photo). Now the black shaft fits right in with the attire of the crowd it accommodates. Suzanne Stephens212 Architectural Record 02.06
    • More like a theme park than a store for outdoor enthusiasts, Cabela’s is a unique retail environment that includes dramatic dioramas, aquariums, water- falls and the store’s signature piece, a realistic mountain replica. This expansive structure, featuring stone columns and lodge-like wooden framing, is topped by 60,000 sq. ft. of PAC-CLAD® 22 gauge, 18” steel SNAP- CLAD™ Panels, finished in Cabela’s signature color, Forest Green. The green metal roof and its distinctive shape was designed by the architectural firm of Crabtree, Rohrbaugh and Associates. The shape of the roof is an attempt to add interest and bring the size of the building down to more of a human scale. Kraus-Anderson Construction has been Cabela’s design-build contractor since being involved in the retailer’s expansion launch in 1997. K Post Company installed the Petersen roof and constructed numerous deco- rative interior applications using PAC-CLAD® flat stock. Six different length pan- els up to 60’ long, five different slopes and the wind made this job a challenge. PAC-CLAD® Panels are corrective-leveled during fabrication to provide superior panel flatness. Our PAC-CLAD ® Kynar 500® finish, covered by a non-prorated 20 year warranty, is now available in 36 standard colors on steel and 34 standard colors on aluminum.Cabela’s For more information regarding our complete line of metal roofing products, Buda, TXArchitect: Crabtree, Rohrbaugh & Associates please call us at 1-800-PAC-CLAD or visit our website @ www.pac-clad.com.General Contractor: Kraus-Anderson CIRCLE 97 ON READER SERVICE CARD OR GORoofing Contractor: K Post Company TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/Color: Forest GreenProfile: SNAP-CLAD Panels